This volume examines innovative intersections of life-writing and experimental fiction in the 20th and 21st centuries, bringing together scholars and practicing biographers from several disciplines (Modern Languages, English and Comparative Literature, Creative Writing). It covers a broad range of biographical, autobiographical, and hybrid practices in a variety of national literatures, among them many recent works: texts that test the ground between fact and fiction, that are marked by impressionist, self-reflexive and intermedial methods, by their recourse to myth, folklore, poetry, or drama as they tell a historical character's story. Between them, the essays shed light on the broad range of auto/biographical experimentation in modern Europe and will appeal to readers with an interest in the history and politics of form in life-writing: in the ways in which departures from traditional generic paradigms are intricately linked with specific views of subjectivity, with questions of personal, communal, and national identity. The Introduction of this book is open access under a CC BY 4.0 license via link.springer.com.

In this volume, Boldrini examines "heterobiography"-the first-person fictional account of a historic life. Boldrini shows that this mode is widely employed to reflect critically on the historical and philosophical understanding of the human; on individual identity; and on the power relationships that define the subject. In such texts, the grammatical first person becomes the site of an encounter, a stage where the relationships between historical, fictional and authorial subjectivities are played out and explored in the 'double I' of author and narrating historical character, of fictional narrator and historical person. Boldrini considers the ethical implications of assuming another's first-person voice, and the fraught issue of authorial responsibility. Constructions of the body are examined in relation to the material evidence of the subject's existence. Texts studied include Malouf's An Imaginary Life, Carey's True History of the Kelly Gang, Ondaatje's The Collected Works of Billy the Kid, Adair's The Death of the Author, Banti's Artemisia, Vazquez Montalban's Autobiografia del general Franco. Also discussed, among others: Yourcenar's Memoirs of Hadrian, Tabucchi's The Last Three Days of Fernando Pessoa, Gimenez-Bartlett's Una habitacion ajena (A Room of Someone Else's).

In this volume, Boldrini examines "heterobiography" the first-person fictional account of a historic life. Boldrini shows that this mode is widely employed to reflect critically on the historical and philosophical understanding of the human; on individual identity; and on the power relationships that define the subject. In such texts, the grammatical first person becomes the site of an encounter, a stage where the relationships between historical, fictional and authorial subjectivities are played out and explored in the double I of author and narrating historical character, of fictional narrator and historical person. Boldrini considers the ethical implications of assuming another s first-person voice, and the fraught issue of authorial responsibility. Constructions of the body are examined in relation to the material evidence of the subject s existence. Texts studied include Malouf s An Imaginary Life, Carey s True History of the Kelly Gang, Ondaatje s The Collected Works of Billy the Kid, Adair s The Death of the Author, Banti s Artemisia, V zquez Montalb n s Autobiograf a del general Franco. Also discussed, among others: Yourcenar s Memoirs of Hadrian, Tabucchi s The Last Three Days of Fernando Pessoa, Gim nez-Bartlett s Una habitaci n ajena (A Room of Someone Else s).

This volume examines innovative intersections of life-writing and experimental fiction in the 20th and 21st centuries, bringing together scholars and practicing biographers from several disciplines (Modern Languages, English and Comparative Literature, Creative Writing). It covers a broad range of biographical, autobiographical, and hybrid practices in a variety of national literatures, among them many recent works: texts that test the ground between fact and fiction, that are marked by impressionist, self-reflexive and intermedial methods, by their recourse to myth, folklore, poetry, or drama as they tell a historical character's story. Between them, the essays shed light on the broad range of auto/biographical experimentation in modern Europe and will appeal to readers with an interest in the history and politics of form in life-writing: in the ways in which departures from traditional generic paradigms are intricately linked with specific views of subjectivity, with questions of personal, communal, and national identity. The Introduction of this book is open access under a CC BY 4.0 license via link.springer.com.

Boldrini's study examines how the literary and linguistic theories of Dante's Divine Comedy helped shape the radical narrative techniques of Joyce's last novel Finnegans Wake. Through detailed parallel readings, she explores a range of connections: issues such as the question of Babel, literary creation as excrement, the complex relations among literary, geometrical and female forms. This book will appeal to scholars and students interested in Joyce, Dante, and questions of literary relations.

Lucia Boldrini's study examines how the literary and linguistic theories of Dante's Divine Comedy helped shape the radical narrative techniques of Joyce's last novel, Finnegans Wake. Through detailed parallel readings, she explores a range of connections: issues such as the question of Babel, literary creation as excrement, the complex relations between literary, geometrical and female forms. Boldrini places Joyce's work in the wider context of other modernist writing's relation to Dante, thereby identifying the distinctness of Joyce's own project. She considers how theories of influence and intertextuality help or limit the understanding of the relation. Boldrini shows how, through an untiring confrontation with his predecessors, constantly thematised within his writing, Joyce develops a 'poetics in progress' that informs not only his final work but his entire oeuvre. This book will appeal to scholars and students interested in Joyce, Dante, and questions of literary relations.