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 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.

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.