Confessional literature stretches beyond autobiography and overlaps
every literary genre. It is eminently dramatic and always
performative, it is a hopeful crying out in response to crisis, and
a plea for reconciliation with community. It is an individual's
private admission of guilt or a community's open plea for mercy, an
auricular-ocular confession, and a pervasive human activity that is
both heard and seen. This study introduces two major theoretical
perspectives that have been consistently overlooked: the
performance nature of confession, and the incorrect classification
of confession as only a subset of autobiography. As this book
demonstrates, confession is not always autobiographical but is
always performative.
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