New Directions in Life Narrative – serie

The first study of life narratives produced for, about, and written by children, this book examines the recent popularity of children’s biographies and how they engage with the biggest issues of our time: environmental change, health crises, education, and children’s personal and political development. Beginning with a literary-historical overview, Children and Biography proceeds to examine 21st-century examples and trends such as illustrated texts including Women in Science, the Fantastically Great Women Who… books, Rebel Dogs, Goodnight Stories for Rebel Girls, Kids Who Did, My Beautiful Birds and The Journey. The book also considers archives of children’s writings and drawings, in particular the testimonies of child asylum seekers, children’s biographical art, and ‘Lockdown diaries’ produced during the Covid-19 pandemic. By analyzing these works alongside empirical studies into how such material is received by child readers, and how texts generated by children are perceived both by them and their parents, this book provides new knowledge on how biographies for children are produced and read. Comprehensive and original, Children and Biography, presents an ethical methodological framework for scholarly practice when reading, witnessing and interpreting children’s life narratives. The book offers a mandate for future researchers: to place children’s voices and writing at the centre of inquiries in ways that facilitate genuine agency for child authors.

The first study of life narratives produced for, about, and written by children, this book examines the recent popularity of children''s biographies and how they engage with the biggest issues of our time: environmental change, health crises, education, and children''s personal and political development. Beginning with a literary-historical overview, Children and Biography proceeds to examine 21st-century examples and trends such as illustrated texts including Women in Science, the Fantastically Great Women Who… books, Rebel Dogs, Goodnight Stories for Rebel Girls, Kids Who Did, My Beautiful Birds and The Journey. The book also considers archives of children''s writings and drawings, in particular the testimonies of child asylum seekers, children''s biographical art, and ''Lockdown diaries'' produced during the Covid-19 pandemic. By analyzing these works alongside empirical studies into how such material is received by child readers, and how texts generated by children are perceived both by them and their parents, this book provides new knowledge on how biographies for children are produced and read. Comprehensive and original, Children and Biography, presents an ethical methodological framework for scholarly practice when reading, witnessing and interpreting children''s life narratives. The book offers a mandate for future researchers: to place children''s voices and writing at the centre of inquiries in ways that facilitate genuine agency for child authors.

The first study of life narratives produced for, about, and written by children, this book examines the recent popularity of children''s biographies and how they engage with the biggest issues of our time: environmental change, health crises, education, and children''s personal and political development. Beginning with a literary-historical overview, Children and Biography proceeds to examine 21st-century examples and trends such as illustrated texts including Women in Science, the Fantastically Great Women Who… books, Rebel Dogs, Goodnight Stories for Rebel Girls, Kids Who Did, My Beautiful Birds and The Journey. The book also considers archives of children''s writings and drawings, in particular the testimonies of child asylum seekers, children''s biographical art, and ''Lockdown diaries'' produced during the Covid-19 pandemic. By analyzing these works alongside empirical studies into how such material is received by child readers, and how texts generated by children are perceived both by them and their parents, this book provides new knowledge on how biographies for children are produced and read. Comprehensive and original, Children and Biography, presents an ethical methodological framework for scholarly practice when reading, witnessing and interpreting children''s life narratives. The book offers a mandate for future researchers: to place children''s voices and writing at the centre of inquiries in ways that facilitate genuine agency for child authors.

The first study of life narratives produced for, about, and written by children, this book examines the recent popularity of children’s biographies and how they engage with the biggest issues of our time: environmental change, health crises, education, and children’s personal and political development. Beginning with a literary-historical overview, Children and Biography proceeds to examine 21st-century examples and trends such as illustrated texts including Women in Science, the Fantastically Great Women Who… books, Rebel Dogs, Goodnight Stories for Rebel Girls, Kids Who Did, My Beautiful Birds and The Journey. The book also considers archives of children’s writings and drawings, in particular the testimonies of child asylum seekers, children’s biographical art, and ‘Lockdown diaries’ produced during the Covid-19 pandemic. By analyzing these works alongside empirical studies into how such material is received by child readers, and how texts generated by children are perceived both by them and their parents, this book provides new knowledge on how biographies for children are produced and read. Comprehensive and original, Children and Biography, presents an ethical methodological framework for scholarly practice when reading, witnessing and interpreting children’s life narratives. The book offers a mandate for future researchers: to place children’s voices and writing at the centre of inquiries in ways that facilitate genuine agency for child authors.

This book introduces the unique archive of letters, textiles, hand-drawn maps, emails and photographs from asylum seekers held indefinitely in offshore detention at Topside Camp, Nauru 2001-5. These artefacts introduce the distinctive and creative forms of resistance produced by asylum seekers in the remote Pacific camps on Nauru and Manus Island, and they expose their experiential histories of radical suffering and trauma. Paying due deference to the creative and aesthetic agency of these various documents and artefacts created by the undocumented here, Gillian Whitlock generates a cultural biography of the Nauru camp that humanizes those who have remained unseen and unheard, and features the activist campaigns and the political resistance that assert the agency of witnessing refugees. Structured around the collections of various artefacts exchanged between detainees and humanitarian activists, Refugee Lives in the Archives draws on emerging theories from detention centres and the asylum seekers themselves in a distinctive and expansive Pacific imaginary of refugee life narrative. Building on Whitlock’s substantial body of work in testimonial, documentary and archive practices, this book focuses on the ‘testimony of things’ and probes an approach to archival studies that moves life writing in new directions, to respond collaboratively to the diverse materiality of story-telling and exchanges in the unique and creative forms of asylum seekers’ voices, stories and epistemologies.

This book introduces the unique archive of letters, textiles, hand-drawn maps, emails and photographs from asylum seekers held indefinitely in offshore detention at Topside Camp, Nauru 2001-5. These artefacts introduce the distinctive and creative forms of resistance produced by asylum seekers in the remote Pacific camps on Nauru and Manus Island, and they expose their experiential histories of radical suffering and trauma. Paying due deference to the creative and aesthetic agency of these various documents and artefacts created by the undocumented here, Gillian Whitlock generates a cultural biography of the Nauru camp that humanizes those who have remained unseen and unheard, and features the activist campaigns and the political resistance that assert the agency of witnessing refugees. Structured around the collections of various artefacts exchanged between detainees and humanitarian activists, Refugee Lives in the Archives draws on emerging theories from detention centres and the asylum seekers themselves in a distinctive and expansive Pacific imaginary of refugee life narrative. Building on Whitlock''s substantial body of work in testimonial, documentary and archive practices, this book focuses on the ''testimony of things'' and probes an approach to archival studies that moves life writing in new directions, to respond collaboratively to the diverse materiality of story-telling and exchanges in the unique and creative forms of asylum seekers'' voices, stories and epistemologies.

This book introduces the unique archive of letters, textiles, hand-drawn maps, emails and photographs from asylum seekers held indefinitely in offshore detention at Topside Camp, Nauru 2001-5. These artefacts introduce the distinctive and creative forms of resistance produced by asylum seekers in the remote Pacific camps on Nauru and Manus Island, and they expose their experiential histories of radical suffering and trauma. Paying due deference to the creative and aesthetic agency of these various documents and artefacts created by the undocumented here, Gillian Whitlock generates a cultural biography of the Nauru camp that humanizes those who have remained unseen and unheard, and features the activist campaigns and the political resistance that assert the agency of witnessing refugees. Structured around the collections of various artefacts exchanged between detainees and humanitarian activists, Refugee Lives in the Archives draws on emerging theories from detention centres and the asylum seekers themselves in a distinctive and expansive Pacific imaginary of refugee life narrative. Building on Whitlock''s substantial body of work in testimonial, documentary and archive practices, this book focuses on the ''testimony of things'' and probes an approach to archival studies that moves life writing in new directions, to respond collaboratively to the diverse materiality of story-telling and exchanges in the unique and creative forms of asylum seekers'' voices, stories and epistemologies.

This book introduces the unique archive of letters, textiles, hand-drawn maps, emails and photographs from asylum seekers held indefinitely in offshore detention at Topside Camp, Nauru 2001-5. These artefacts introduce the distinctive and creative forms of resistance produced by asylum seekers in the remote Pacific camps on Nauru and Manus Island, and they expose their experiential histories of radical suffering and trauma. Paying due deference to the creative and aesthetic agency of these various documents and artefacts created by the undocumented here, Gillian Whitlock generates a cultural biography of the Nauru camp that humanizes those who have remained unseen and unheard, and features the activist campaigns and the political resistance that assert the agency of witnessing refugees. Structured around the collections of various artefacts exchanged between detainees and humanitarian activists, Refugee Lives in the Archives draws on emerging theories from detention centres and the asylum seekers themselves in a distinctive and expansive Pacific imaginary of refugee life narrative. Building on Whitlock’s substantial body of work in testimonial, documentary and archive practices, this book focuses on the ‘testimony of things’ and probes an approach to archival studies that moves life writing in new directions, to respond collaboratively to the diverse materiality of story-telling and exchanges in the unique and creative forms of asylum seekers’ voices, stories and epistemologies.

Calling attention to the unseen mediation and re-mediation of life narratives in online and physical spaces, this ground-breaking exploration uncovers the ever-changing strategies that authors, artists, publishers, curators, archivists and social media corporations adopt to shape, control or resist the auto/biographical in these texts. Concentrating on contemporary life texts found in the material book, museums, on social media and archives that present perceptions of individuality and autonomy, Reading Mediated Life Narratives exposes the traces of personal, cultural, technological, and political mediation that must be considered when developing reading strategies for such life narratives. Amy Carlson asks such questions as what agents act upon these narratives; what do the text, the creator, and the audience gain, and what do they lose; how do constantly evolving technologies shape or stymie the auto/biographical “I”; and finally, how do the mediations affect larger issues of social and collective memory?An examination of the range of sites at which vulnerability and intervention can occur, Carlson does not condemn but stages an intercession, showing us how it is increasingly necessary to register mediated agents and processes modifying the witnessing or recuperation of original texts that could condition our reception. With careful thought on how we remember, how we create and control our pictures, voices, words, and records, Reading Mediated Life Narratives reveals how we construct and negotiate our social identities and memories, but also what systems control us.

Calling attention to the unseen mediation and re-mediation of life narratives in online and physical spaces, this ground-breaking exploration uncovers the ever-changing strategies that authors, artists, publishers, curators, archivists and social media corporations adopt to shape, control or resist the auto/biographical in these texts. Concentrating on contemporary life texts found in the material book, museums, on social media and archives that present perceptions of individuality and autonomy, Reading Mediated Life Narratives exposes the traces of personal, cultural, technological, and political mediation that must be considered when developing reading strategies for such life narratives. Amy Carlson asks such questions as what agents act upon these narratives; what do the text, the creator, and the audience gain, and what do they lose; how do constantly evolving technologies shape or stymie the auto/biographical “I”; and finally, how do the mediations affect larger issues of social and collective memory? An examination of the range of sites at which vulnerability and intervention can occur, Carlson does not condemn but stages an intercession, showing us how it is increasingly necessary to register mediated agents and processes modifying the witnessing or recuperation of original texts that could condition our reception. With careful thought on how we remember, how we create and control our pictures, voices, words, and records, Reading Mediated Life Narratives reveals how we construct and negotiate our social identities and memories, but also what systems control us.

Calling attention to the unseen mediation and re-mediation of life narratives in online and physical spaces, this ground-breaking exploration uncovers the ever-changing strategies that authors, artists, publishers, curators, archivists and social media corporations adopt to shape, control or resist the auto/biographical in these texts. Concentrating on contemporary life texts found in the material book, museums, on social media and archives that present perceptions of individuality and autonomy, Reading Mediated Life Narratives exposes the traces of personal, cultural, technological, and political mediation that must be considered when developing reading strategies for such life narratives. Amy Carlson asks such questions as what agents act upon these narratives; what do the text, the creator, and the audience gain, and what do they lose; how do constantly evolving technologies shape or stymie the auto/biographical “I”; and finally, how do the mediations affect larger issues of social and collective memory? An examination of the range of sites at which vulnerability and intervention can occur, Carlson does not condemn but stages an intercession, showing us how it is increasingly necessary to register mediated agents and processes modifying the witnessing or recuperation of original texts that could condition our reception. With careful thought on how we remember, how we create and control our pictures, voices, words, and records, Reading Mediated Life Narratives reveals how we construct and negotiate our social identities and memories, but also what systems control us.

Calling attention to the unseen mediation and re-mediation of life narratives in online and physical spaces, this ground-breaking exploration uncovers the ever-changing strategies that authors, artists, publishers, curators, archivists and social media corporations adopt to shape, control or resist the auto/biographical in these texts. Concentrating on contemporary life texts found in the material book, museums, on social media and archives that present perceptions of individuality and autonomy, Reading Mediated Life Narratives exposes the traces of personal, cultural, technological, and political mediation that must be considered when developing reading strategies for such life narratives. Amy Carlson asks such questions as what agents act upon these narratives; what do the text, the creator, and the audience gain, and what do they lose; how do constantly evolving technologies shape or stymie the auto/biographical “I”; and finally, how do the mediations affect larger issues of social and collective memory?An examination of the range of sites at which vulnerability and intervention can occur, Carlson does not condemn but stages an intercession, showing us how it is increasingly necessary to register mediated agents and processes modifying the witnessing or recuperation of original texts that could condition our reception. With careful thought on how we remember, how we create and control our pictures, voices, words, and records, Reading Mediated Life Narratives reveals how we construct and negotiate our social identities and memories, but also what systems control us.

Surveying print and digital graphic life narratives about people who become ‘othered’ within Western contexts, this book investigates how comics and graphic novels witness human rights transgressions in contemporary Anglophone culture and how they can promote social justice. With thought given to how the graphic form can offer a powerful counterpoint to the legal, humanitarian and media discourses that dehumanise the most violated and dispossessed, but also how these works may unconsciously reproduce Western neo-colonial presentations of the ‘other,’ Olga Michael focuses on gender, death, space, and border violence within graphic life narratives depicting suffering across different geo- and biopolitical locations. Combining the familiar with the lesser-known, this book covers works by artists such as Joe Sacco, Thi Bui, Mia Kirshner, Phoebe Gloeckner, Kamel Khélif, Francesca Sanna, Gabi Froden, Benjamin Dix and Lindsay Pollock, as well as Safdar Ahmed and Ali Dorani/Eaten Fish. Interdisciplinary in its consideration of life writing, comics and human rights studies, and comparative in approach, this book explores such topics as the aesthetics of visualised suffering; spatial articulations of human rights violations; the occurrence of violations whilst crossing borders; the gendered dimensions of visually captured violence; and how human rights discourses intersect with graphic depictions of the dead. In so doing, Michael establishes how to read human rights and social justice comics in relation to an escalating global crisis and deftly complicates negotiations of ‘otherness.’ A vitally important work to the humanities sector, this book underscores the significance of postcolonial decolonized reading acts as forms of secondary witness.

Surveying print and digital graphic life narratives about people who become ''othered'' within Western contexts, this book investigates how comics and graphic novels witness human rights transgressions in contemporary Anglophone culture and how they can promote social justice. With thought given to how the graphic form can offer a powerful counterpoint to the legal, humanitarian and media discourses that dehumanise the most violated and dispossessed, but also how these works may unconsciously reproduce Western neo-colonial presentations of the ''other,'' Olga Michael focuses on gender, death, space, and border violence within graphic life narratives depicting suffering across different geo- and biopolitical locations. Combining the familiar with the lesser-known, this book covers works by artists such as Joe Sacco, Thi Bui, Mia Kirshner, Phoebe Gloeckner, Kamel Khélif, Francesca Sanna, Gabi Froden, Benjamin Dix and Lindsay Pollock, as well as Safdar Ahmed and Ali Dorani/Eaten Fish. Interdisciplinary in its consideration of life writing, comics and human rights studies, and comparative in approach, this book explores such topics as the aesthetics of visualised suffering; spatial articulations of human rights violations; the occurrence of violations whilst crossing borders; the gendered dimensions of visually captured violence; and how human rights discourses intersect with graphic depictions of the dead. In so doing, Michael establishes how to read human rights and social justice comics in relation to an escalating global crisis and deftly complicates negotiations of ''otherness.'' A vitally important work to the humanities sector, this book underscores the significance of postcolonial decolonized reading acts as forms of secondary witness.

Surveying print and digital graphic life narratives about people who become ''othered'' within Western contexts, this book investigates how comics and graphic novels witness human rights transgressions in contemporary Anglophone culture and how they can promote social justice. With thought given to how the graphic form can offer a powerful counterpoint to the legal, humanitarian and media discourses that dehumanise the most violated and dispossessed, but also how these works may unconsciously reproduce Western neo-colonial presentations of the ''other,'' Olga Michael focuses on gender, death, space, and border violence within graphic life narratives depicting suffering across different geo- and biopolitical locations. Combining the familiar with the lesser-known, this book covers works by artists such as Joe Sacco, Thi Bui, Mia Kirshner, Phoebe Gloeckner, Kamel Khélif, Francesca Sanna, Gabi Froden, Benjamin Dix and Lindsay Pollock, as well as Safdar Ahmed and Ali Dorani/Eaten Fish. Interdisciplinary in its consideration of life writing, comics and human rights studies, and comparative in approach, this book explores such topics as the aesthetics of visualised suffering; spatial articulations of human rights violations; the occurrence of violations whilst crossing borders; the gendered dimensions of visually captured violence; and how human rights discourses intersect with graphic depictions of the dead. In so doing, Michael establishes how to read human rights and social justice comics in relation to an escalating global crisis and deftly complicates negotiations of ''otherness.'' A vitally important work to the humanities sector, this book underscores the significance of postcolonial decolonized reading acts as forms of secondary witness.

Surveying print and digital graphic life narratives about people who become ‘othered’ within Western contexts, this book investigates how comics and graphic novels witness human rights transgressions in contemporary Anglophone culture and how they can promote social justice. With thought given to how the graphic form can offer a powerful counterpoint to the legal, humanitarian and media discourses that dehumanise the most violated and dispossessed, but also how these works may unconsciously reproduce Western neo-colonial presentations of the ‘other,’ Olga Michael focuses on gender, death, space, and border violence within graphic life narratives depicting suffering across different geo- and biopolitical locations. Combining the familiar with the lesser-known, this book covers works by artists such as Joe Sacco, Thi Bui, Mia Kirshner, Phoebe Gloeckner, Kamel Khélif, Francesca Sanna, Gabi Froden, Benjamin Dix and Lindsay Pollock, as well as Safdar Ahmed and Ali Dorani/Eaten Fish. Interdisciplinary in its consideration of life writing, comics and human rights studies, and comparative in approach, this book explores such topics as the aesthetics of visualised suffering; spatial articulations of human rights violations; the occurrence of violations whilst crossing borders; the gendered dimensions of visually captured violence; and how human rights discourses intersect with graphic depictions of the dead. In so doing, Michael establishes how to read human rights and social justice comics in relation to an escalating global crisis and deftly complicates negotiations of ‘otherness.’ A vitally important work to the humanities sector, this book underscores the significance of postcolonial decolonized reading acts as forms of secondary witness.

Winner of the British Association of Contemporary Literary Studies Monograph Prize 2025 and the 2025 Literary Encyclopedia Book Prize.The dismantlement of the British Empire had a profound impact on many celebrated white Anglophone writers of the twentieth century, particularly those who were raised in former British colonial territories and returned to the metropole after the Second World War. Formal decolonisation meant that these authors were unable to ‘go home’ to their colonial childhoods, a historical juncture with profound consequences for how they wrote and recorded their own lives.Moving beyond previous discussions of imperial and colonial nostalgia, Life Writing and the End of Empire is the first critical study of white memoirists and autobiographers who rewrote their memories of empire across numerous life narratives. By focussing on these processual homecomings, Emma Parker’s study asks what it means to be ‘at home’ in memories of empire, whether in the settler farms of Southern Rhodesia, or amidst the neon lights of Shanghai’s International Settlement. These discussions trace the legacies of empire to the habitations and detritus of everyday life, from mansions and modest railway huts, to empty swimming pools, heirlooms, and photograph albums.Exploring works by Penelope Lively, J. G. Ballard, Doris Lessing, and Janet Frame, this study establishes new connections between authors usually discussed for their fiction, and who have been hitherto unrecognised as post-imperial life writers. Offering close, sustained analysis of autobiographies, memoirs, travel narratives, and autofictions, and identifying new subgenres such as ‘speculative life writing’, this book advances rich new readings of autobiographical narrative. By tracing the continuing importance of colonialism to white subjectivity, the role of imperial memory in Britain, and the ways that these unsettling forces move beneath the surface of modern and contemporary literature, this study offers new conceptual insights to the fields of life writing and postcolonial studies.

The dismantlement of the British Empire had a profound impact on many celebrated white Anglophone writers of the twentieth century, particularly those who were raised in former British colonial territories and returned to the metropole after the Second World War. Formal decolonisation meant that these authors were unable to ''go home'' to their colonial childhoods, a historical juncture with profound consequences for how they wrote and recorded their own lives. Moving beyond previous discussions of imperial and colonial nostalgia, Life Writing and the End of Empire is the first critical study of white memoirists and autobiographers who rewrote their memories of empire across numerous life narratives. By focussing on these processual homecomings, Emma Parker''s study asks what it means to be ''at home'' in memories of empire, whether in the settler farms of Southern Rhodesia, or amidst the neon lights of Shanghai''s International Settlement. These discussions trace the legacies of empire to the habitations and detritus of everyday life, from mansions and modest railway huts, to empty swimming pools, heirlooms, and photograph albums. Exploring works by Penelope Lively, J. G. Ballard, Doris Lessing, and Janet Frame, this study establishes new connections between authors usually discussed for their fiction, and who have been hitherto unrecognised as post-imperial life writers. Offering close, sustained analysis of autobiographies, memoirs, travel narratives, and autofictions, and identifying new subgenres such as ''speculative life writing'', this book advances rich new readings of autobiographical narrative. By tracing the continuing importance of colonialism to white subjectivity, the role of imperial memory in Britain, and the ways that these unsettling forces move beneath the surface of modern and contemporary literature, this study offers new conceptual insights to the fields of life writing and postcolonial studies.

The dismantlement of the British Empire had a profound impact on many celebrated white Anglophone writers of the twentieth century, particularly those who were raised in former British colonial territories and returned to the metropole after the Second World War. Formal decolonisation meant that these authors were unable to ''go home'' to their colonial childhoods, a historical juncture with profound consequences for how they wrote and recorded their own lives. Moving beyond previous discussions of imperial and colonial nostalgia, Life Writing and the End of Empire is the first critical study of white memoirists and autobiographers who rewrote their memories of empire across numerous life narratives. By focussing on these processual homecomings, Emma Parker''s study asks what it means to be ''at home'' in memories of empire, whether in the settler farms of Southern Rhodesia, or amidst the neon lights of Shanghai''s International Settlement. These discussions trace the legacies of empire to the habitations and detritus of everyday life, from mansions and modest railway huts, to empty swimming pools, heirlooms, and photograph albums. Exploring works by Penelope Lively, J. G. Ballard, Doris Lessing, and Janet Frame, this study establishes new connections between authors usually discussed for their fiction, and who have been hitherto unrecognised as post-imperial life writers. Offering close, sustained analysis of autobiographies, memoirs, travel narratives, and autofictions, and identifying new subgenres such as ''speculative life writing'', this book advances rich new readings of autobiographical narrative. By tracing the continuing importance of colonialism to white subjectivity, the role of imperial memory in Britain, and the ways that these unsettling forces move beneath the surface of modern and contemporary literature, this study offers new conceptual insights to the fields of life writing and postcolonial studies.

Winner of the British Association of Contemporary Literary Studies Monograph Prize 2025 and the 2025 Literary Encyclopedia Book Prize.The dismantlement of the British Empire had a profound impact on many celebrated white Anglophone writers of the twentieth century, particularly those who were raised in former British colonial territories and returned to the metropole after the Second World War. Formal decolonisation meant that these authors were unable to ‘go home’ to their colonial childhoods, a historical juncture with profound consequences for how they wrote and recorded their own lives.Moving beyond previous discussions of imperial and colonial nostalgia, Life Writing and the End of Empire is the first critical study of white memoirists and autobiographers who rewrote their memories of empire across numerous life narratives. By focussing on these processual homecomings, Emma Parker’s study asks what it means to be ‘at home’ in memories of empire, whether in the settler farms of Southern Rhodesia, or amidst the neon lights of Shanghai’s International Settlement. These discussions trace the legacies of empire to the habitations and detritus of everyday life, from mansions and modest railway huts, to empty swimming pools, heirlooms, and photograph albums.Exploring works by Penelope Lively, J. G. Ballard, Doris Lessing, and Janet Frame, this study establishes new connections between authors usually discussed for their fiction, and who have been hitherto unrecognised as post-imperial life writers. Offering close, sustained analysis of autobiographies, memoirs, travel narratives, and autofictions, and identifying new subgenres such as ‘speculative life writing’, this book advances rich new readings of autobiographical narrative. By tracing the continuing importance of colonialism to white subjectivity, the role of imperial memory in Britain, and the ways that these unsettling forces move beneath the surface of modern and contemporary literature, this study offers new conceptual insights to the fields of life writing and postcolonial studies.

Exploring lives lived, written and narrated in and from the Global South, the far South and the ultimate South, Antarctica, this book asks how life writing from southerly compass points impact both how we understand and read life narratives, and ultimately how we perceive our planet. Southern geographies, histories and lives have often been overlooked and defined by northern perspectives; Life Writing and the Southern Hemisphere redresses this North/South alignment in its critical examination of life stories, memoirs, biographies and autobiographies from the southern hemisphere, providing a countervailing and alternative perspective that will unsettle, challenge and enrich the imaginative norms that inform life writing studies.From Tierra del Fuego and Patagonia in South America, through southern Africa, to Australia and New Zealand and as far down as Antarctica, this collection brings together writers and scholars in the oceanic humanities, postcolonial, Global South and polar studies, and presents works on human, animal and plant life captured in words, music, performance, visual arts and photography. Interdisciplinary and vast in its comparative range, Life Writing and the Southern Hemisphere convenes a diversity of perspectives and positions that demonstrate that the south has rich internal knowledge sources of its own, allowing us to better conceptualize the planet ‘from below’.

Exploring lives lived, written and narrated in and from the Global South, the far South and the ultimate South, Antarctica, this book asks how life writing from southerly compass points impact both how we understand and read life narratives, and ultimately how we perceive our planet. Southern geographies, histories and lives have often been overlooked and defined by northern perspectives; Life Writing and the Southern Hemisphere redresses this North/South alignment in its critical examination of life stories, memoirs, biographies and autobiographies from the southern hemisphere, providing a countervailing and alternative perspective that will unsettle, challenge and enrich the imaginative norms that inform life writing studies. From Tierra del Fuego and Patagonia in South America, through southern Africa, to Australia and New Zealand and as far down as Antarctica, this collection brings together writers and scholars in the oceanic humanities, postcolonial, Global South and polar studies, and presents works on human, animal and plant life captured in words, music, performance, visual arts and photography. Interdisciplinary and vast in its comparative range, Life Writing and the Southern Hemisphere convenes a diversity of perspectives and positions that demonstrate that the south has rich internal knowledge sources of its own, allowing us to better conceptualize the planet ''from below''.

Exploring lives lived, written and narrated in and from the Global South, the far South and the ultimate South, Antarctica, this book asks how life writing from southerly compass points impact both how we understand and read life narratives, and ultimately how we perceive our planet. Southern geographies, histories and lives have often been overlooked and defined by northern perspectives; Life Writing and the Southern Hemisphere redresses this North/South alignment in its critical examination of life stories, memoirs, biographies and autobiographies from the southern hemisphere, providing a countervailing and alternative perspective that will unsettle, challenge and enrich the imaginative norms that inform life writing studies. From Tierra del Fuego and Patagonia in South America, through southern Africa, to Australia and New Zealand and as far down as Antarctica, this collection brings together writers and scholars in the oceanic humanities, postcolonial, Global South and polar studies, and presents works on human, animal and plant life captured in words, music, performance, visual arts and photography. Interdisciplinary and vast in its comparative range, Life Writing and the Southern Hemisphere convenes a diversity of perspectives and positions that demonstrate that the south has rich internal knowledge sources of its own, allowing us to better conceptualize the planet ''from below''.

Exploring lives lived, written and narrated in and from the Global South, the far South and the ultimate South, Antarctica, this book asks how life writing from southerly compass points impact both how we understand and read life narratives, and ultimately how we perceive our planet. Southern geographies, histories and lives have often been overlooked and defined by northern perspectives; Life Writing and the Southern Hemisphere redresses this North/South alignment in its critical examination of life stories, memoirs, biographies and autobiographies from the southern hemisphere, providing a countervailing and alternative perspective that will unsettle, challenge and enrich the imaginative norms that inform life writing studies.From Tierra del Fuego and Patagonia in South America, through southern Africa, to Australia and New Zealand and as far down as Antarctica, this collection brings together writers and scholars in the oceanic humanities, postcolonial, Global South and polar studies, and presents works on human, animal and plant life captured in words, music, performance, visual arts and photography. Interdisciplinary and vast in its comparative range, Life Writing and the Southern Hemisphere convenes a diversity of perspectives and positions that demonstrate that the south has rich internal knowledge sources of its own, allowing us to better conceptualize the planet ‘from below’.

This comprehensive volume offers compelling critical essays surveying the myriad forms of innovation in contemporary Anglophone life writing. Experimental Life Writing Today provides a historical and critical context for examining avant-garde tendencies in biography and autobiography and outlines the poetics of experimental life writing.The volume is divided into two parts. The first is devoted to a selection of experimental genres of life writing: autofiction, biofiction, paramemoir, autotheory, graphic memoir, photo-memoir, eco-memoir and the lyric essay. Part Two includes chapters concerned with the following themes, concepts and devices set in the context of experimental life writing: illness, disability, mourning, relationality, place, catalogue, narration and fragmentation.To ensure clarity and consistency, each chapter follows the same structure: a theoretical discussion of a given notion, comprising a brief discussion of its various aspects and examples, followed by a close reading of a chosen text. Case studies are devoted to significant contemporary works by authors such as Hazel V. Carby, J. M. Coetzee, Anne Garréta, Karen Green, Vona Groarke, Han Kang, Mary Karr, Deborah Levy, Hilary Mantel, Maggie Nelson, Ruth Ozeki, Mark Tredinnick, Una, D.J. Waldie and Wim Wenders. The volume is dedicated to exploring innovative forms of, and in, contemporary Anglophone life writing, and it makes an important contribution to a rich and burgeoning field of interdisciplinary practice and research.

This comprehensive volume offers compelling critical essays surveying the myriad forms of innovation in contemporary Anglophone life writing. Experimental Life Writing Today provides a historical and critical context for examining avant-garde tendencies in biography and autobiography and outlines the poetics of experimental life writing. The volume is divided into two parts. The first is devoted to a selection of experimental genres of life writing: autofiction, biofiction, paramemoir, autotheory, graphic memoir, photo-memoir, eco-memoir and the lyric essay. Part Two includes chapters concerned with the following themes, concepts and devices set in the context of experimental life writing: illness, disability, mourning, relationality, place, catalogue, narration and fragmentation. To ensure clarity and consistency, each chapter follows the same structure: a theoretical discussion of a given notion, comprising a brief discussion of its various aspects and examples, followed by a close reading of a chosen text. Case studies are devoted to significant contemporary works by authors such as Hazel V. Carby, J. M. Coetzee, Anne Garr ta, Karen Green, Vona Groarke, Han Kang, Mary Karr, Deborah Levy, Hilary Mantel, Maggie Nelson, Ruth Ozeki, Mark Tredinnick, Una, D.J. Waldie and Wim Wenders. The volume is dedicated to exploring innovative forms of, and in, contemporary Anglophone life writing, and it makes an important contribution to a rich and burgeoning field of interdisciplinary practice and research.