Böcker i Life Writing-serien

This edited collection considers the ways older women¿s life narratives redefine culturally imposed conceptions of what it means to grow older.

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.

This book showcases a unique, innovative form for contemporary life narrative scholarship. It positions the essay as a unique nexus of creative and critical practice.

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.

This volume explores narratives of illness and disability using the latest critical theories and through the perspectives of patients, creative writers, and academics. It examines the intersection of trauma and disability and the ethical dimensions of narrative. It was first published as a special issue of Life Writing.

This collection brings together a series of essays that combine the public and private nature of dissent, stories of dissent that encapsulate the mood of an historical or cultural period, or of a society. This book was originally published as a special issue of Life Writing.

This book depicts that autofictional texts often make use of humour and play in a productive and meaningful way, tackling issues like human rights violations, historical, collective and personal trauma, and struggle with psychological or physical illness and abuse. It was originally published as special issue of Life Writing.

Explores the parallel processes of dispossession suffered by nineteenth-century Scottish crofters expelled from their ancestral lands during the Highland Clearances, and by the marginalization of coastal fishing communities in Nova Scotia. The book memorializes local ways of life that were destroyed by the forces of industrial production.

Bird-Bent Grass chronicles an extraordinary motherdaughter relationship that spans distance, time, and, eventually, debilitating illness. Personal, familial, and political narratives unfold through the letters that Geeske Venema-de Jong and her daughter Kathleen exchanged during the late 1980s and through their weekly conversations, which started after Geeske was diagnosed with Alzheimer's disease twenty years later. In 1986, Kathleen accepted a three-year teaching assignment in Uganda, after a devastating civil war, and Geeske promised to be her daughter's most faithful correspondent. The two women exchanged more than two hundred letters that reflected their lively interest in literature, theology, and politics, and explored ideas about identity, belonging, and home in the context of cross-cultural challenges. Two decades later, with Geeske increasingly beset by Alzheimer's disease, Kathleen returned to the letters, where she rediscovered the evocative image of a tiny, bright meadow bird perched precariously on a blade of elephant grass. That image of simultaneous tension, fragility, power, and resilience sustained her over the years that she used the letters as memory prompts in a larger strategy to keep her intellectually gifted mother alive. Deftly woven of excerpts from their correspondence, conversations, journal entries, and email updates, Bird-Bent Grass is a complex and moving exploration of memory, illness, and immigration; friendship, conflict, resilience, and forgiveness; cross-cultural communication, the ethics of international development, and letter-writing as a technology of intimacy. Throughout, it reflects on the imperative and fleeting business of being alive and loving others while they're ours to hold.

Magie Dominics first memoir , The Queen of Peace Room, was shortlisted for the Canadian Womens Studies Award, ForeWord magazines Book of the Year Award, and the Judy Grahn Award. Told over an eight-day period, the book captured a lifetime of turbulent memories, documenting with skill Dominics experiences of violence, incest, and rape. But her story wasnt finished. Street Angel opens to the voice of an eleven-year-old Dominic. Shes growing up in Newfoundland. Her mother suffers from terrifying nighttime hallucinations. Her fathers business is about to collapse. She layers the world she hears on radio and television onto her family, speaking in paratactic prose with a point-blank delivery. She finds relief only in the glamour of Hollywood films and the majesty of Newfoundlands wilderness. Revealing her life through flashbacks, humour, and her signature self-confidence, Dominic takes readers from 1950s Newfoundland to 1960s Pittsburgh, 1970s New York, and the end of the millennium in Toronto. Capturing the long days of childhood, this book questions how important those days are in shaping who we become as we age and time seems to speed up. With quick brush-stroke chapters Dominic chronicles sixty years of a complex, secretive family in this story about violence, adolescence, families, and forgiveness.

Since the early 1990s, tens of thousands of memoirs by celebrities and unknown people have been published, sold, and read by millions of American readers. The memoir boom, as the explosion of memoirs on the market has come to be called, has been welcomed, vilified, and dismissed in the popular press. But is there really a boom in memoir production in the United States? If so, what is causing it? Are memoirs all written by narcissistic hacks for an unthinking public, or do they indicate a growing need to understand world events through personal experiences? This study seeks to answer these questions by examining memoir as an industrial product like other products, something that publishers and booksellers help to create. These popular texts become part of mass culture, where they are connected to public events. The genre of memoir, and even genre itself, ceases to be an empty classification category and becomes part of social action and consumer culture at the same time. From James Frey's controversial A Million Little Pieces to memoirs about bartending, Iran, the liberation of Dachau, computer hacking, and the impact of 9/11, this book argues that the memoir boom is more than a publishing trend. It is becoming the way American readers try to understand major events in terms of individual experiences. The memoir boom is one of the ways that citizenship as a category of belonging between private and public spheres is now articulated.

In 1949, Margaret Norquay moved with her new husband, a minister with the United Church of Canada, to Mayerthorpe, in northern Alberta, a village in the centre of what was in those days a pioneer hinterland. Broad Is the Way is a collection of stories from their seven years there. Told with affection and gentle humour, the stories cover the challenges, heartaches, and delights of a young community and a minister and his wife in a very new marriage. Topics include the experience of orphan children sent to work on Western farms, manoeuvring for a restroom downtown for farmers' wives in need of a place to change their babies while their husbands did business, dealing with the RCMP over liquor found in the church basement, and the generosity of spirit shown by the community to the Norquays. Throughout the book, Margaret Norquay's indomitable spirit and determination are evident and illustrate her passionate belief in making positive change and having fun while doing it.

Lexi, a young Mennonite woman from Saskatchewan, comes to work as housekeeper and nanny for a doctor's family in Waterloo, Ontario, during the Depression. Dr. Gerald Oliver is a handsome philanderer who lives with his neurotic and alcoholic wife, Cammy, and their two children. Lexi soon adapts to modern conveniences, happily wears Cammy's expensive cast off clothes, and is transformed from an innocent into a chic urban beauty. When Lexi is called home to Saskatchewan to care for her dying mother, she returns a changed person. At home, Lexi finds a journal written by her older brother during the family's journey from Russia to Canada. In it she reads of a tragedy kept secret for years, one hat reconciles her early memories of her mother as joyful and loving with the burdened woman she became in Canada. Lexi returns to Waterloo, where a crisis of her own, coupled with the knowledge of this secret, serves as the catalyst for her realization that, unlike her mother, she must create her own destiny. Watermelon Syrup is a classic bildungsroman: the tale of a naive young woman at the crossroads of a traditional, restrictive world and a modern one with its freedom, risks, and responsibilities.

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.

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 n ivet 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.

Autobiographical impostures, once they come to light, appear to us as outrageous, scandalous. They confuse lived and textual identity (the person in the world and the character in the text) and call into question what we believe, what we doubt, and how we receive information. In the process, they tell us a lot about cultural norms and anxieties. Burdens of Proof: Faith, Doubt, and Identity in Autobiography examines a broad range of impostures in the United States, Canada, and Europe, and asks about each one: Why this particular imposture? Why here and now? Susanna Egans historical survey of texts from early Christendom to the nineteenth century provides an understanding of the author in relation to the text and shows how plagiarism and other false claims have not always been regarded as the frauds we consider them today. She then explores the role of the media in the creation of much contemporary imposture, examining in particular the cases of Jumana Hanna, Norma Khouri, and James Frey. The book also addresses ethnic imposture, deliberate fictions, plagiarism, and ghostwriting, all of which raise moral, legal, historical, and cultural issues. Egan concludes the volume with an examination of how historiography and law failed to support the identities of European Jews during World War II, creating sufficient instability in Jewish identity and doubt about Jewish wartime experience that the impostor could step in. This textual erasure of the Jews of Europe and the refashioning of their experiences in fraudulent texts are examples of imposture as an outcrop of extreme identity crisis. The first to examine these issues in North America and Europe, Burdens of Proof will be of interest to scholars of life writing and cultural studies. </p

This collection brings together a series of essays that combine the public and private nature of dissent, stories of dissent that encapsulate the mood of an historical or cultural period, or of a society. This book was originally published as a special issue of Life Writing.

This book showcases a unique, innovative form for contemporary life narrative scholarship. It positions the essay as a unique nexus of creative and critical practice.

Contributions to this book analyse material from the late eighteenth to the late nineteenth centuries, including biography, auto/biographical memoirs, letters, diaries, sermons, maps and directories. It was originally published as a special issue of Life Writing.

Contributions to this book analyse material from the late eighteenth to the late nineteenth centuries, including biography, auto/biographical memoirs, letters, diaries, sermons, maps and directories, and the book closes with reflections and poems by contemporary life writers. It was originally published as a special issue of Life Writing.

This book sets a new agenda for studies in trauma narrative by establishing dialogues between some of the existing and traditional subjects, locations and methodologies of trauma study and other contexts, histories and memories that have remained obscured to date.

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.

This edited collection considers the ways older women's life narratives redefine culturally imposed conceptions of what it means to grow older.

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.

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. This book was originally published as a special issue of Life Writing.

In the age of social media, life writing is everywhere. But does this mean that life is limitless? The Limits of Life Writing offers new insights into life writing by attending to the limits that are approached and sometimes crossed by contemporary writers. This book was originally published as a special issue of Life Writing.

This volume explores narratives of illness and disability using the latest critical theories and through the perspectives of patients, creative writers, and academics. It examines the intersection of trauma and disability and the ethical dimensions of narrative. It was first published as a special issue of Life Writing.