Authors of autobiographies are always engaged in creating a "self" to present to their readers. This process of self-creation raises a number of intriguing questions: why and how does anyone choose to present herself or himself in an autobiography? Do women and men represent themselves in different ways and, if so, why? How do differences in culture affect the writing of autobiography in various parts of the world?
This book tackles these questions through a close examination of Arab women's autobiographical writings. Nawar Al-Hassan Golley applies a variety of western critical theories, including Marxism, colonial discourse, feminism, and narrative theory, to the autobiographies of Huda Shaarawi, Fadwa Tuqan, Nawal el-Saadawi, and others to demonstrate what these critical methodologies can reveal about Arab women's writing. At the same time, she also interrogates these theories against the chosen texts to see how adequate or appropriate these models are for analyzing texts from other cultures. This two-fold investigation sheds important new light on how the writers or editors of Arab women's autobiographies have written, documented, presented, and organized their texts.
A user-friendly guide to reading, writing, and theorizing autobiographical texts and practices for students, scholars, and practitioners of life narrative
The boom in autobiographical narratives continues apace. It now encompasses a global spectrum of texts and practices in such media as graphic memoir, auto-photography, performance and plastic arts, film and video, and online platforms. Reading Autobiography Now offers both a critical engagement with life narrative in historical perspective and a theoretical framework for interpreting texts and practices in this wide-ranging field. Hailed upon its initial publication as “the Whole Earth Catalog of autobiography studies,” this essential book has been updated, reorganized, and expanded in scope to serve as an accessible and contemporary guide for scholars, students, and practitioners.
Sidonie Smith and Julia Watson explore definitions of life narrative, probe issues of subjectivity, and outline salient features of autobiographical acts and practices. In this updated edition, they address emergent topics such as autotheory, autofiction, and autoethnography; expand the discussions of identity, relationality, and agency; and introduce new material on autobiographical archives and the profusion of “I”s in contemporary works. Smith and Watson also provide a helpful toolkit of strategies for reading life narrative and an extensive glossary of mini-essays analyzing key theoretical concepts and dozens of autobiographical genres.
An indispensable exploration of this expansive, transnational, multimedia field, Reading Autobiography Now meticulously unpacks the heterogeneous modes of life narratives through which people tell their stories, from traditional memoirs and trauma narratives to collaborative life narrative and autobiographical comics.
"To tell my own story is to tell that of my famous husband, General John A. Logan," explains Mary S. Logan in the preface to her autobiography.
Married to John A. Logan for thirty-one years, Mary Logan shared in her distinguished husband’s career as a prosecutor in southern Illinois, as a Civil War general, and as a senator from Illinois. She observed firsthand the extraordinary events before, during, and after the Civil War, and she knew personally those world leaders who held the power to shape history. After the death of her husband, she maintained her influence in Washington, D.C. "Under the brightest and darkest skies," she explains, "I have passed than a half-century at the national capital."
Born in 1838, Logan writes of her early days growing up in southern Illinois through 1913, when this book was first published. A skillful observer, she recounts events that are personal, regional, and national in scope. In charming detail, she shares her courtship and subsequent marriage to a young prosecutor from Jackson County and the births of their children. She writes proudly of the Lincoln-Douglas debates in 1858 and her husband’s election to the Thirty-seventh Congress that same year. Logan tells of the coming of the Civil War and of her husband—formerly a Democrat and an enemy of Lincoln—casting his fate with the Union and raising a regiment in southern Illinois. She poignantly describes her brother’s defection to the Confederate Army, her life in war-torn Cairo, Illinois, and her horror at her husband’s severe war wounds. She recounts the battles, the political campaigns, and Lincoln’s reelection and subsequent assassination from her point of view—and, as the wife of a politician and general, hers is a decidedly privileged perspective.
In a position to observe and to participate in events ranging from momentous to minute throughout the latter half of the nineteenth and early twentieth centuries, she reports the essential episodes of history with the flair of journalism, a career she in fact embraced after the death of her husband. She writes movingly of a wounded captain on the road to recovery who suddenly died when the minié shifted next to his lung, amusingly of the excuses soldiers invented to wrangle a pass to town, and elegantly of her trips to Europe and of the pomp and circumstance of the parties attended by the great men and women of the time. Drawing on events grand and small, she re-creates history as only a skillful writer who was in the right place at the right time could.
In the context of a growing scholarly literature devoted to the topics of biography and autobiography, especially in the Arabic literary tradition, the essays in this volume explore the forms and meanings of these genres with particular reference to Persian writings, as well as to writings in Arabic and Turkish that were also composed in Persianate societies.
The authors address, among other topics, biographies and autobiographies of women; biographies of specific occupational groups, such as poets; the relation of traditional “lives of poets” to the reception of their literary works; intertextuality across biographical and autobiographical writings and across languages; and the processes involved in translating written biographies for the contemporary television screen.
Readers are invited to glimpse the lives of figures from the past and to appreciate the historical, cultural, and literary contexts that shaped their biographical and autobiographical narratives, and to reflect on the continuing significance of these narratives into the modern era.
Toward the end of his career, Robert Penn Warren wrote, “It may be said that our lives are our own supreme fiction.” Although lauded for his writing in multiple genres, Warren never wrote an autobiography. Instead, he created his own “shadowy autobiography” in his poetry and prose, as well as his fiction and nonfiction. As one of the most thoughtful scholars on Robert Penn Warren and the literature of the South, Joseph Millichap builds on the accepted idea that Warren’s poetry and fiction became more autobiographical in his later years by demonstrating that that same progression is replicated in Warren’s literary criticism. This meticulously researched study reexamines in particular Warren’s later nonfiction in which autobiographical concerns come into play—that is, in those fraught with psychological crisis such as Democracy and Poetry.
Millichap reveals the interrelated literary genres of autobiography, criticism, and poetry as psychological modes encompassing the interplay of Warren’s life and work in his later nonfiction. He also shows how Warren’s critical engagement with major American authors often centered on the ways their creative work intersected with their lives, thus generating both autobiographical criticism and the working out of Warren’s own autobiography under these influences. Millichap’s latest book focuses on Warren’s critical responses to William Faulkner, John Crowe Ransom, Herman Melville, Nathaniel Hawthorne, John Greenleaf Whittier, and Theodore Dreiser. In addition, the author carefully considers the black and female writers Warren assessed more briefly in American Literature: The Makers and the Making.
Robert Penn Warren, Shadowy Autobiography, and Other Makers of American Literature presents the breadth of Millichap’s scholarship, the depth of his insight, and the maturity of his judgment, by giving us to understand that in his writing, Robert Penn Warren came to know his own vocation as a poet and critic—and as an American.
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