In the era of identity politics, whose is the "I" of cultural criticism? And what does the invention of an autobiographical persona have to do with contemporary theory? In "Getting Personal", Nancy K. Miller reflects upon the ways in which contingencies of identity and location shape the writing of academic argument and the living of an academic life.
"Getting Personal" explores the new territory of feminist cultural studies and its connections to literary interpretation. The book is organized around a number of academic scenes in which Miller analyses the stakes of feminist critical performance. The focus on occasions, from the conference to the seminar to the professional colloquium, produces an autobiographical perspective on the mini-drama of institutional politics - whether faculty struggles over the canon in elite universities, or student strivings for self-authorization in large urban ones. Writing "as a" feminist critic, Miller describes the dilemmas of a responsible pedogogic practice: the contradictory demands of authority and complicity for a feminist teacher of literature.
"Getting" "Personal" examines the rhetorical strategies of a feminism traversed by internal debates over its own self-representations. Working through and among quotations of voices that might otherwise not address each other, Miller assesses a crisis and offers a project for moving on.

Novelists in pre-Revolutionary France were fascinated by what has come to be called compulsory heterosexuality', ritualized public performances of male/female relations as the ultimate human bond. Plots of seduction and betrayal glamourized by the "Liasons Dangereuses" demonstrate how complicated and treacherous these performances were. "French Dressing" scrutinizes the ancien regime's practices of unsafe sex, the scenarios of libertinage in which both sexes were equally stylish antagonists. It also shows that women paid unequally, sometimes fatally, for the power games of libertine experiments. In the works of male writers - Laclos and Sade, Duclos and Prost - the shape of narrative requires the staging of sexual conquest, rhetorical and literal undressing. The works of the women novelists who were their contemporaries - Tencin, Graffigny, Riccoboni, Charriere - also configure the social relations between the sexes but shift the emphasis to the aftermath of sexual plot: the emotional and physical consequences of a power-driven economy.

My Brilliant Friends is a group biography of three women's friendships forged in second-wave feminism. Poignant and politically charged, the book is a captivating personal account of the complexities of women's bonds. Nancy K. Miller describes her friendships with three well-known scholars and literary critics: Carolyn Heilbrun, Diane Middlebrook, and Naomi Schor. Their relationships were simultaneously intimate and professional, emotional and intellectual, animated by the ferment of the women's movement. Friendships like these sustained the generation of women whose entrance into male-dominated professions is still reshaping American society. The stories of their intertwined lives and books embody feminism's belief in the political importance of personal experience. Reflecting on aging and loss, ambition and rivalry, competition and collaboration, Miller shows why and how friendship's ties matter in the worlds of work and love. Inspired in part by the portraits of the intensely enmeshed lives in Elena Ferrante's Neapolitan novels, My Brilliant Friends provides a passionate and timely vision of friendship between women.

My Brilliant Friends is a group biography of three women's friendships forged in second-wave feminism. Poignant and politically charged, the book is a captivating personal account of the complexities of women's bonds. Nancy K. Miller describes her friendships with three well-known scholars and literary critics: Carolyn Heilbrun, Diane Middlebrook, and Naomi Schor. Their relationships were simultaneously intimate and professional, emotional and intellectual, animated by the ferment of the women's movement. Friendships like these sustained the generation of women whose entrance into male-dominated professions is still reshaping American society. The stories of their intertwined lives and books embody feminism's belief in the political importance of personal experience. Reflecting on aging and loss, ambition and rivalry, competition and collaboration, Miller shows why and how friendship's ties matter in the worlds of work and love. Inspired in part by the portraits of the intensely enmeshed lives in Elena Ferrante's Neapolitan novels, My Brilliant Friends provides a passionate and timely vision of friendship between women.

In her latest work of personal criticism, Nancy K. Miller tells the story of how a girl who grew up in the 1950s and got lost in the 1960s became a feminist critic in the 1970s. As in her previous books, Miller interweaves pieces of her autobiography with the memoirs of contemporaries in order to explore the unexpected ways that the stories of other people's lives give meaning to our own. The evolution she chronicles was lived by a generation of literary girls who came of age in the midst of profound social change and, buoyed by the energy of second-wave feminism, became writers, academics, and activists. Miller's recollections form one woman's installment in a collective memoir that is still unfolding, an intimate page of a group portrait in process.

The first decade of the twenty-first century witnessed a passionate engagement with the losses of the past. Rites of Return examines the effects of this legacy of historical injustice and documented suffering on the politics of the present. Twenty-four writers, historians, literary and cultural critics, anthropologists and sociologists, visual artists, legal scholars, and curators grapple with our contemporary ethical endeavor to redress enduring inequities and retrieve lost histories. Mapping bold and broad-based responses to past injury across Eastern Europe, Africa, Latin America, Australia, the Middle East, and the United States, Rites of Return examines new technologies of genetic and genealogical research, memoirs about lost family histories, the popularity of roots-seeking journeys, organized trauma tourism at sites of atrocity and new Museums of Conscience, and profound connections between social rites and political and legal rights of return. Contributors include: Lila Abu-Lughod, Columbia University; Nadia Abu El-Haj, Barnard College; Elazar Barkan, Columbia University; Svetlana Boym, Harvard University; Saidiya Hartman, Columbia University; Amira Hass, journalist; Jarrod Hayes, University of Michigan; Marianne Hirsch, Columbia University; Eva Hoffman, writer; Margaret Homans, Yale University; Rosanne Kennedy, Australian National University; Daniel Mendelsohn, writer; Susan Meiselas, photographer; Nancy K. Miller, CUNY Graduate Center; Alondra Nelson, Columbia University; Jay Prosser, University of Leeds; Liz Sevchenko, Coalition of Museums of Conscience; Leo Spitzer, Dartmouth College; Marita Sturken New York University; Diana Taylor, New York University; Patricia J. Williams, Columbia University

"In a book that will change the ways we think about autobiography and criticism, Nancy K. Miller produces poignant revelations about what it means to live with a dying parent as a son or daughter, as well as the difference that gender makes in such a painful situation. In Bequest and Betrayal, she develops an original feminist perspective by counterpointing lyrical introspection about her own grief with critical insights into memoirs by Simone de Beauvoir, Philip Roth, Art Spiegelman, Susan Cheever, Carolyn Steedman, and Annie Ernaux." Sandra M. Gilbert and Susan Gubar, co-authors of The Madwoman in the Attic, No Man's Land, and The Norton Anthology of Literature by Women

"Miller's use of the memoir form offers a new model of serious criticism, and a way of imagining community through bonds of paper as well as bonds of blood. " Elaine Showalter, London Review of Books

Melding the details of her own experience with the familial biographies of well-known contemporary writers, Miller recreates a common experience the loss of a father or a mother and exposes the often tortuous paths of mourning and attachment that we follow in the wake of loss. In the process, she offers pieces of personal history, revealing the mixed emotions provoked by her mother's sudden death from cancer and her father's painful struggle with Parkinson's disease. Memoirs about the loss of parents show how enmeshed in the family plot we have been and the price of our complicity in its stories. The death of parents forces us to rethink our lives, to reread ourselves. We read for what we need to find. Sometimes, we also find what we didn't know we needed."

What can reading for the gender of signature tell us about the act of reading as a poetics and politics? In "Subject to Change" Miller demonstrates the textual effects of female authorship in the production, reception, and circulation of women's writing. In the wake of Roland Barthes's famously Dead Author, Miller argues for the cultural vitality of feminist writing subjects.

Does gender have a poetics: What difference does gender make? How does it affect writing, reading, and the functions of text in society? "The Poetics of Gender" is a brilliant assembly of leading feminist critics whose collective effort presents the most up-to-date research on these important issues. The range of techniques and theories represented here are applied across a broad spectrum of texts and cultural forms, extending from women's writing of the Renaissance and the fiction of George Sand to the relation between quiltmaking and nineteenth-century literary forms, the pornography of Georges Bataille, and the theories of Julia Kristeva.