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This book examines the relationship between words and images in
various life-writing works produced by nineteenth to twenty-first
century American and British women. It addresses the politics of
images in women's life writing, contending that the presence or
absence of images is often strategic. Including a range of
different forms of life writing, chapters draw on traditional
(auto)biographies, travel narratives, memoirs, diaries,
autofiction, cancer narratives, graphic memoirs, artistic
installations, quilts and online performances, as life writing
moves from page to screen and other media. The book explores a wide
range of women who have crossed the boundary between text and
image: painters who have become writers, novelists who have become
painters, writers who hesitate between images and words, models who
seize the camera, and artists who use the frame as a page.
This collection of essays offers a stimulating insight into the
practice of reading and the relationship between reading and
writing in women's life writing texts such as memoirs,
autobiographies, diaries, travel logs, and graphic memoirs. It
covers a great variety of writers from literary classics such as
Virginia Woolf to the authors of slave narratives. Some essays
focus on how literary texts help frame a narrative of the self,
acting as models and counter models; others insist on the role of
literature in resisting imposed gendered and ethnic identities. The
essays also show that female writers use reading to deepen their
relationship to the rest of the world. While reading is often
represented as central to life and aesthetic experience, the
collection stresses that there is no single or universal approach
to reading in women's life writing. Taking into account debates
about life writing, the collection opens new fields of
investigation and fully participates in current scholarly
conversations in the field.
This collection of essays offers a stimulating insight into the
practice of reading and the relationship between reading and
writing in women's life writing texts such as memoirs,
autobiographies, diaries, travel logs, and graphic memoirs. It
covers a great variety of writers from literary classics such as
Virginia Woolf to the authors of slave narratives. Some essays
focus on how literary texts help frame a narrative of the self,
acting as models and counter models; others insist on the role of
literature in resisting imposed gendered and ethnic identities. The
essays also show that female writers use reading to deepen their
relationship to the rest of the world. While reading is often
represented as central to life and aesthetic experience, the
collection stresses that there is no single or universal approach
to reading in women's life writing. Taking into account debates
about life writing, the collection opens new fields of
investigation and fully participates in current scholarly
conversations in the field.
This book examines the relationship between words and images in
various life-writing works produced by nineteenth to twenty-first
century American and British women. It addresses the politics of
images in women's life writing, contending that the presence or
absence of images is often strategic. Including a range of
different forms of life writing, chapters draw on traditional
(auto)biographies, travel narratives, memoirs, diaries,
autofiction, cancer narratives, graphic memoirs, artistic
installations, quilts and online performances, as life writing
moves from page to screen and other media. The book explores a wide
range of women who have crossed the boundary between text and
image: painters who have become writers, novelists who have become
painters, writers who hesitate between images and words, models who
seize the camera, and artists who use the frame as a page.
'Serious students of horror should check out 'Frankenstein
Galvanized', an interesting variety of responses to Shelley and the
themes of her work' Ron Charles, Washington Post 'A handsome
edition with much thought provoking discussion, I'd recommend this
one' Peter Sutton, Times Literary Supplement.
An accessible close re-reading of Frame's novels and short stories
from an autobiographical perspective. This study examines the whole
of Janet Frame's output starting with the fiction (novels,
short-stories and poems) before focusing on the two
autobiographical novels, Owls do Cry and Faces in the Water, to end
with the autobiographical trilogy, a sort of restorative prism
inviting us to (re) read all her preceding works. It is the
autobiography and its film version, An Angel at My Table (1990,
directed by Jane Campion), that won her international fame. Frame's
life is extraordinary, not only because she was spared a lobotomy
by winning a prize for her collection of short stories, but also
because writing from the 'rim of the farthest circle, ' she
provides food for thought for anyone interested in postcolonial and
gender studies.
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