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Abstract only
Angela Lait

, 2002 : xv) In other words, the purpose of life-writing is that it enables authors and readers to self-examine in a way there is rarely time for in the daily busy-ness of the modern world. It also allows readers to evaluate another’s life, adding authentication by means of the author/character identification and the piquancy that comes from

in Telling tales
Popular responses to the outbreak of war
Grace Huxford

of life-​writing and reveals several different motivations for divulging information. Diary entries were voluntarily sent in to the MO team, in contrast to the observations noted by interviewers in the field. In those cases, information could even be seen as extracted from individuals in response to questions.15 MO material encompasses the range of autobiographical material available to the historian and demonstrates its frequently involuntary nature. Sociologist Dorothy Sheridan also pointed out that autobiographical writing means different things to different

in The Korean War in Britain
Grassroots exceptionalism in humanitarian memoir
Emily Bauman

outside the systems of state sovereignty and global capital. Unlike other forms of humanitarian narrative, which are focused on humanitarian crises and projects or on the work of a particular organisation, humanitarian life-writing tells a story of individual education and empowerment. As a result the genre’s emphasis is not the typical one of compassion and pathos, though images of human

in Global humanitarianism and media culture
Autobiography, suffering and professions of faith
Sarah Ward Clavier

, their episcopalian counterparts are frequently neglected.3 This is partly because self-­examination and self-criticism in diaries or notebooks were inherent to most strains of puritanism, emerging from within experimental Calvinism within the Elizabethan period, whereas it was apparently not so crucial to mainstream or conservative episcopalians.4 A search for the life-writing of Restoration bishops, therefore, is necessarily more difficult. None the less, such texts do exist. Several of those who were to be appointed to the episcopate petitioned Charles II in 1660

in Church polity and politics in the British Atlantic world, c. 1635–66
Emma Liggins

, now represented as a monstrous, overpowering figure, has to be challenged and the tantular rejected in order to set the home daughter free. Disjunctions emerge between the bored spinster heroine, trapped in domestic (often rural) space, and the confident public personae 118 Odd women? often adopted in women’s life-writing, chronicling fulfilment through war work abroad and suffrage activity. Novels by May Sinclair and F.M. Mayor, neither of whom fit neatly into existing accounts of modernist women’s writing, can be re-examined in terms of their queering of the

in Odd women?
Emma Liggins

lesbians typically ‘disturb the happy infrastructure of homes’,3 then life-writing allowed lesbians to reinscribe their own variations on heterosexual domestic organisation. Recent work on inter-war queer autobiography has noted its challenge to contem­ porary theories of inversion and, in Georgia Johnston’s words, its 164 Odd women? ‘attempt, through making private experience public, to move the lesbian figure out of the closet’.4 I demonstrate how the love letters of Sylvia Townsend Warner and Radclyffe Hall, which have received limited critical attention

in Odd women?
Abstract only
Jessica L. Malay

this edition, Anne Clifford’s autobiographical writing, 1590–1676, is intended to challenge twentieth-century assumptions about autobiography that have relied too heavily on Philippe Lejeune’s 1973 definition of ‘autobiography’ as ‘a retrospective prose narrative produced by a real person concerning his own existence, focusing on his individual life, in particular on the development 13 I use this as a collective term for the life-writing texts included in this edition. My intention here is to challenge Philippe Lejeune’s 1973 definition of autobiography as a

in Anne Clifford’s autobiographical writing, 1590–1676
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Through everything
Nicholas Royle

writing calls for a different thinking of all the disciplines and lines between them – ‘biology’ (the study of ‘life’) and ‘history’ (so many his and her and other creatures’ stories) as much as ‘literary studies’, ‘theory’, ‘fiction’, ‘autobiography’, ‘life writing’. She invites us to draw them all otherwise. Scholars, cultural historians and bibliographers may continue to classify early texts such as ‘Fiction and Its Phantoms’ (1972), ‘Sorties’ (1975) and ‘The Laugh of the Medusa’ (1975) as ‘critical essays’, but the writing itself will always resist such

in Hélène Cixous
Helena Grice

In fact, the text is able to move quite easily between fiction and nonfiction modes. Kingston is a past master at combining generic registers, and could even be said to have built her literary reputation upon the (con)fusion of fictional and life-writing modes in her earlier works The Woman Warrior and China Men , as she does again here. In Three Guineas Virginia Woolf suggested that women could best write (about) peace ‘by not repeating your words and following your methods but by finding new words and creating new methods’. 10 Peggy Kamuf notes that Woolf

in Maxine Hong Kingston
From Donne to Herbert
Elisabeth Chaghafi

1640 Life of Donne marks the beginning of Walton’s life-writing and is the one among his Lives which underwent the most – and the most substantial – revisions. In its different versions, the Life of Donne reflects Walton’s growing interest in reading Donne’s works biographically and using them in his Life . In the following, I shall particularly highlight the differences between the 1640 and the 1658 version, because they illustrate this development most clearly. The Life of Herbert , on the other hand, represents the late phase of Walton’s life-writing. It

in English literary afterlives