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By Gunnthórunn Gudmundsdóttir

Borderlines. Autobiography and Fiction in Postmodern existence Writing locates and investigates the borderlines among autobiography and fiction in different types of life-writing relationship from the final thirty years. This quantity bargains a beneficial comparative method of texts via French, English, American, and German authors to demonstrate the several kinds of experimentation with the borders among genres and literary modes. Gudmundsdottir tackles vital modern matters comparable to autobiography's courting to postmodernism via investigating issues comparable to reminiscence and crossing cultural divides, using images in autobiography and the position of narrative in life-writing. This paintings is of curiosity to scholars and students of comparative literature, postmodernism and modern life-writing

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His own room, Anne Frank's room, Dickinson's room, these are the concrete spaces of memory, writing and solitude. Places of remembrance that have now (or some of them at least) become monuments to this remembrance and writing. This investigation of solitude in 'The Book of Memory' is what links it to 'Portrait of an Invisible Man' and gives new meaning to the title as he invents not only his father's solitude (see chapter 5), but also his own. Auster writes on his life by remembering other lives, other writers, other stories, other texts.

And Hellman continued to rewrite her life, remembering and forgetting in writing for most of her adult life. Perec's text crosses large gaps and blanks in his memory. This is most notable in what he writes on his parents. This passage in W ou le souvenir d'enfance might give some idea why he writes on things that he believes he has forgotten: Même si je n'ai pour étayer mes souvenirs improbables que le secours de photos jaunies, de témoignages rares et de documents dérisoires, je n'ai pas d'autre choix que d'évoquer ce que trop longtemps j'ai nommé l'irrévocable; ce qui fut, ce qui s'arrêta, ce qui fut clôturé: ce qui fut, sans doute, pour aujourd'hui ne plus être, mais ce qui fut aussi 35 Peter Burke, 'History as Social Memory', in Memory: History, Culture and the Mind, pp.

But, although forgetting can therefore be seen as anathema to autobiography, it is often a fertile ground, even a starting point for autobiographical writing. 28 We can see in this how writing, memory and forgetting are all inextricably linked in the autobiographical process. Not only can forgetting influence the whole structure of the text, it can also be the very reason for starting to write, as an attempt to retrieve what has been lost. The first fictional part of W ou le souvenir d'enfance describes a quest, and autobiography can be seen as a quest for the forgotten or the half-remembered, a quest that always remains partly unfulfilled.

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