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Susanne Becker

‘gendered’ writing over the last twenty years. Ontario writer Alice Munro’s work is well-known for its realism; however, her early Lives of Girls and Women (1971) explores the gothicising of female life-writing: it self-consciously introduces gothic features and highlights their possibilities and dangers, and is thus a text that overtly establishes gothicism as an adequate and indeed appropriate feminine

in Gothic Forms of Feminine Fictions
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From the axe to giving birth
Nicholas Royle

derangers. Now, a few decades later, while we continue to reckon with écriture féminine , we might also supplement and reinforce it with other figures: double life writing, night writing, submarine writing, dream children’s literature, the maiopic, ornithophony and so on. 8 In ‘Sorties’ Cixous outlines a notion of bisexuality, a sense of being, feeling, thinking and writing that is not predicated on a logic of ‘warding off castration’: Therefore, I shall distinguish between two bisexualities, two opposite ways of imagining the possibility and practice

in Hélène Cixous
Hawai‘i One Summer (1987/1998)
Helena Grice

Warrior; for her failure, as Chin saw it, to pay necessary homage to the indigenous traditions of Chinese America and instead to publish a narrative which ‘violated beyond recognition’ the myths and stories of ‘her’ culture. 31 Yet as the reflections of Hawai‘i One Summer attest, Kingston had already devoted much time and thought to the question of what we might term the ‘ethnic ethics’ of literary production. Kingston’s decision in her life-writing volumes The Woman Warrior and China Men to blend mythical and literary modes reflects her conclusion in Hawai

in Maxine Hong Kingston
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A dialogue on influence
Michèle Mendelssohn and Denis Flannery

very dubious picture of the biographer at work’. ‘What can I say?: secrets in fiction and biography’ explores Hollinghurst’s long-standing relationship to biography and discusses how his interest in its evolution informed his 2011 novel. He reveals that the novelist he became is indebted to the biographer he didn’t become. Lee observes that Lytton Strachey’s 1918 Eminent Victorians changed biography and that by including Strachey in the novel, Hollinghurst brought together ‘what happens to the history of biography and life-writing in Britain in the twentieth century

in Alan Hollinghurst
Ritual in loyal addressing
Edward Vallance

individual addressers and those they represented could gather from participating in this public ritual. 16 Addressing and the individual The importance of addressing as a marker of status both for individuals and groups/communities can be seen in the prominence given to addressing activity in some examples of early modern life-writing. Lengthy reports of addressing activity are a feature not only of Reresby’s memoirs, but also Edmund Calamy’s ‘Accounts’, Benjamin Stinton’s ‘journal’ and Bulstrode Whitelocke’s ‘Diary’. 17

in Loyalty, memory and public opinion in England, 1658–​1727
The Innocent and Black Dogs
Dominic Head

the context of the narrative, and a chief source of unease – not just for the ‘biographer’ Jeremy, but for the author and the reader, too. In this respect, Black Dogs shares some of the ethical concerns that have preoccupied critics of life writing. The particular circumstances of this biographical work are interesting, since it is, notionally, collaborative. Yet when Jeremy wonders ‘ungenerously, if I was being used – as a conduit, a medium for the final fix June wanted to put on her life’, a thought that makes him ‘less uncomfortable about not writing the

in Ian McEwan
1930s biodrama and the archive/ museum performed
Amber K. Regis

home and drawing upon an ever-​expanding corpus of Brontë writings. The opening of the Parsonage Museum in 1928 was a landmark event, and in the ten years that followed the Shakespeare Head Brontë (1931–​38) issued new editions of the novels, poetry and unpublished works, including four volumes of letters and life-​writing. Museum and scholarly edition were differing manifestations of a shared impulse: to collect the Brontës’ textual and material remains, curating them within a single, concentrated site. The purchase of Haworth parsonage had been an objective of the

in Charlotte Brontë
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Sara Pennell and Michelle DiMeo

some of the valencies such texts may have carried for compilers, users and readers. As we have already suggested for Lady Ann Fanshawe, recipe books can represent life-writing, or perhaps (to reflect a more cautious approach to the conscious literary agency at work here), life-registers. Even printed texts often commenced with an author biography that served both authorising and contextualising purposes

in Reading and writing recipe books, 1550–1800
Tales of four eighteenth-century recipe books
Sara Pennell

.’ So what is this manuscript? It belongs to Bisaker’s pre-marital years but she did not continue and expand the manuscript for hundreds of pages, making it into a culinary repository for the rest of her married life. Indeed the only later addition to the text concerns what did probably preoccupy her later life – children and their raising. So, rather than being a piece of life-writing

in Reading and writing recipe books, 1550–1800
Riot grrrl and body politics from the early 1990s
Laura Cofield

”’.4 This consciousness of a movement of feeling both ‘in’ and ‘out’ Sara Ahmed has termed the ‘sociality of emotion’: connecting bodies to each other and objects as well as shaping our interactions with structures and norms.5 This sense of fluidity has also shaped the zines themselves. Riot grrrl zines can be seen to inhabit a ‘hybridity’ of genres, exhibiting crossovers with life writing, political journalism and ‘a kind of art practice’, as well as becoming vehicles of ‘resistance’ and ‘lifestyle’.6 Such heterogeneity allowed grrrls to obfuscate the presumed

in Ripped, torn and cut