By Gunnthórunn Gudmundsdóttir
Borderlines. Autobiography and Fiction in Postmodern existence Writing locates and investigates the borderlines among autobiography and fiction in several types of life-writing courting from the final thirty years. This quantity deals a precious comparative method of texts via French, English, American, and German authors to demonstrate different varieties of experimentation with the borders among genres and literary modes. Gudmundsdottir tackles very important modern issues similar to autobiography's courting to postmodernism by way of investigating topics equivalent to reminiscence and crossing cultural divides, using photos 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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Extra info for Borderlines : autobiography and fiction in postmodern life writing
But that is not the role of the fictional chapters in Perec's text, or if it is, it is in a much more subtle way than we usually presume. He does not fill in memory lapses and make up stories. Instead he includes a horrific fictional tale of a fascist society. The process of editing is made so apparent that it becomes an obstacle course in the chapters on childhood memories but it is nowhere evident (or is at least discreet) in the fictional tale. '33 The second fictional part in W ou le souvenir d'enfance is a story of an island society that is completely centred on sport, a story that grew out of one Perec made up as a child.
14 The second fictional part is a story of an island society that is completely organised around the cult of sport. The fictional chapters and the childhood memories seem very different at first sight but there are sentences that are almost interchangeable. This one is from the fictional narrator in the first chapter: 'Quoi qu'il arrive, quoi que je fasse, j'étais le seul dépositaire, la seule mémoire vivante, le seul 13 'Next to it, the adventure story is rather grandiose, or maybe dubious. For it begins to tell one tale, and then, all of a sudden, launches into another.
She frequently expresses doubts about her memory as she says that 'the tales of former children are seldom to be trusted' (Pentimento, p. 412). What characterises her work is her constant doubt about her own memory, her rewriting and comments on her own diaries, and a reappraisal of the past, both her own and other people's actions. As I mentioned above Hellman adds notes to the Three edition and in the introduction to that volume she writes: What didn't I see during the time of work that I now see more clearly?
Borderlines : autobiography and fiction in postmodern life writing by Gunnthórunn Gudmundsdóttir