New approaches to the topics of old age and becoming old depicted in a range of texts from modern literature. The central focus of this book is the experience of growing old as represented in literature from the mid-nineteenth century to the present day: an experience shaped by changes in longevity, a new science of senescence, the availability of state pensions, and other phenomena of recent history. The collection considers the increasing prominence of stories of ageing, challenging the idea that old age is an uneventful time outside of the parameters of literary narrative. Instead, age increasingly is the story. As the older population swells, political crises are construed as the old stealing from the young, and the rights of older people are sacrificed to the economics of care, it becomes ever more important to think about and question, as literature does, the symbolic aspects of ageing - the cultural imaginary that determines the way that society sees old age. The work in this volume explores age stories in relation to futurity, precarity and climate change. It brings to light narratives of resistance to colonial imperialism and reproductive futurism framed in terms of age; and tests the lived experience of growing old and the challenge it offers to individualistic conceptions of selfhood, work and care. The literary works examined - hailing from England, North America, Japan and the Caribbean, and including texts by Margaret Drabble, Samuel Beckett and Matthew Thomas - ask how we feel about ageing - so often the determinant of how we think about it.

Figuring Age engages the virtually invisible subject of older women in western culture. Like other markers of social difference, age is given meaning by a culture. Yet unlike gender and race, the subjects of age and aging have received little sustained attention. Central to Figuring Age is the crucial question of how women are aged by culture. How are older women represented in a visual culture that is dominated by images of youth in television, film, and life performance? How do psychoanalysis, rejuvenation therapy and hormone replacement therapy, the fashion system, cosmetic surgery, and midlife bodybuilding shape our views of aging as well as of the older body itself? What is the "timing" of aging? To what extent is aging a culturally-induced trauma?

In this moving and thoughtful book, Kathleen Woodward explores the politics and poetics of the emotions, focusing on American culture since the 1960s. She argues that we are constrained in terms of gender, race, and age by our culture's scripts for "emotional" behavior and that the accelerating impoverishment of interiority is a symptom of our increasingly media-saturated culture. She also shows how we can be empowered by stories that express our experience, revealing the value of our emotions as a crucial form of intelligence.

Referring discreetly to her own experience, Woodward examines the interpenetration of social structures and subjectivity, considering how psychological emotions are social phenomena, with feminist anger, racial shame, old-age depression, and sympathy for non-human cyborgs (including robots) as key cases in point. She discusses how emerging institutional and discursive structures engender "new" affects that in turn can help us understand our changing world if we are attentive to them--the "statistical panic" produced by the risk society, with its numerical portents of disease and mortality; the rage prompted by impenetrable and bloated bureaucracies; the brutal shame experienced by those caught in the crossfire of the media; and the conservative compassion that is not an emotion at all, only an empty political slogan.

The orbit of "Statistical Panic" is wide, drawing in feminist theory, critical phenomenology, and recent theories of the emotions. But at its heart are stories. As an antidote to the vacuous dramas of media culture, with its mock emotions and scattershot sensations, Woodward turns to the autobiographical narrative. Stories of illness--by Joan Didion, Yvonne Rainer, Paul Monette, and Alice Wexler, among others--receive special attention, with the inexhaustible emotion of grief framing the book as a whole.