Monday, April 17, 2017
Can you imagine if there were only one edition of Alice? All mine but the pop-up and app are well-worn paperbacks in different shapes and sizes. All are illustrated by John Tenniel, except the facsimile (author's own illustrations), pop-up (Robert Sabuda) and app (Emmanuel Paletz).
I chose to use so many examples, because to me these are such very different reading experiences, some more obviously than others. The medium is most assuredly the message when it comes to Alice. And, I can't imagine it any other way.
Alice's Adventures under Ground (facsimile of the Author's 1864 manuscript with additional material from the facsimile edition of 1886 with intro by Martin Gardner)
Alice in Wonderland (Norton Critical Edition)
Alice's Adventures in Wonderland & Through the Looking-Glass (New American Library Signet Classic)
The Annotated Alice (Penguin Edition)
The Philosopher's Alice's (intro and notes by Peter Heath)
Alice's Adventures in Wonderland (A Pop-up Adaptation of Lewis Carroll's Original Tale)
http://thealiceapp.com/ (Amazing interactive text, a sampling here:)
Because I can be a bit OCD about books and reading, I explored a few free online editions:
http://www.literatureproject.com/alice/ (boring, text only)
http://literature.org/authors/carroll-lewis/alices-adventures-in-wonderland/ (pdf text with Tenniel illustrations)
http://readcentral.com/book/Lewis-Carroll/Read-Alices-Adventures-in-Wonderland-Online (No illustrations but this site, strangely, lets you assess your reading time.)
http://www.gutenberg.org/ebooks/11?msg=welcome_stranger (This is where many sites get the text they use. Text is made available in multiple formats.)
https://archive.org/details/AlicesAdventuresInWonderland (click through pdf or epub)
https://www.adobe.com/be_en/active-use/pdf/Alice_in_Wonderland.pdf (Described as an all digital replica of the original. You can see the book's stitching and edges of the cover.)
https://librivox.org/alices-adventures-in-wonderland-by-lewis-carroll/ (When listening is reading...)
https://www.youtube.com/watch?v=dq1T5c-_yaQ (read by John Gielgud)
http://www.storyjumper.com/book/index/14849392/Alice-in-Wonderland (This site lets you make your own illustrated and, conceivably, even narrated book. Child's drawings and text summary.
Saturday, April 15, 2017
Author of WASTED: a memoir of anorexia and bulimia, Hornbacher, tells the rest of the story. A little precious, a bit self-indulgent, much as her life, there is good content here. However, I didn't feel the depression the way I felt the mania. Perhaps, unable to write during the lows affected the ability to convey them emotionally. Understandable. The mania was well represented, making for an engaging read of well-bred midwestern neurosis gone wrong.
Sort of like Orange is the New Black, I don't doubt the author's depth of experience, but there is some glamourizing of what must have been devastating consequences to self-destructive choices. I guess my main disappointmet is there doesn't seem like there was a growth in self-awareness other than learning to take the meds.
The links to mental health organizations was a nice addition at the end, as was the other research information. It's good that the subject is being explored. Silence continues to be one of the roadblocks to public acceptance.
Monday, April 03, 2017
"I think secretly each and every one of us longs to fall, and knows in a deep wise place in our brains that surrender is the means by which we gain, not lose, our lives. ... We want to go down, and it hurts to fight the force of gravity."
Slater describes her memoir by its title. She has chosen metaphor over history, fiction over fact, as the only way to arrive at a narrative that describes her experience with mental illness.
In the quote above, we could easily substitute "letting go" with falling or surrendering. And, what, after all, is madness but an ultimate release of the self from reality.
Saturday, April 01, 2017
Monday, March 27, 2017
(unfortunately, only available on i-phone, pad, pod)
(maybe this has changed? the site is kind of dated)
Saturday, March 25, 2017
Friday, March 24, 2017
Wednesday, March 22, 2017
I have been wrestling with the issue of how hypertext changes the role of the reader for a long time. On the one hand I do not believe that hypertext alters the act of reading any more than any other new genre would. We read magazines differently than we read novels. We read textbooks differently than we read computer manuals. Some theorists like Landow and Lanham believe that the simple presence of a cursor on a screen alters the reading experience because the cursor is a physical means of inserting the reader into the text, it is a physical reminder that the reader is always present. Lanham believes that because text resides on a hard drive that readers approach it differently. The fact that electronic text is no longer caught between the covers of a book, that it only becomes present when a reader calls it up on a screen, invites the reader to come closer to the text, to write the text anew each time he or she engages with it. Bolter (1991) believes that because the text is "non-print, undark, dry, unimprinted, prone to sailing off" (86) it is dynamic and volatile, and the reader loses track of where the writer has left off and the reader begins.
Some of this is a little tough to swallow. In what way is a cursor any different than a finger following along? Why does it make any difference to a reader if the text resides between the covers of a book or on a disk or hard drive or server somewhere? The reader is still able to access his or her prior knowledge, is still able to predict what is yet to come. If we are to believe Rosenblatt, then the meaning in of a book or magazine is still called into being by the reader and each reading can be made anew as the reader brings newer experiences with life and text to the reading. So where are the differences?
I think there are differences, actually. Not perhaps in the actual act of reading but in the attitudes that readers and writers bring to electronic text, which includes hypertext. Critics of electronic text like to point out that it is difficult (and dangerous) to read hypertext in the bathtub. And they are right. And when I want to read something long, I print it out and read it at my desk or on my couch. But perhaps the reason I do that is because I am used to book text. I'm used to its conventions and I know what to expect. I did not learn to read or spend my "formative" reading years at a computer. I did that stretched out on my bed hoping my mother wouldn't drag me away to dust mopboards or change the cat litter. Every moment caught up in Nancy Drew's adventures was a moment away from the litter box and the mopboards. Or so it seemed. And so the pleasure of reading is, for me, caught up in those secret moments when I could sneak and read. And in those stolen moments I became accustomed to the feel of a book, to the conventions of book text and magazine text.
But conventions change, just as they did in the transition between scribal culture and book culture. I know my students would rather go to the computer lab than do anything else. And when they are in front of a computer, they are totally engaged, consciously making decisions about where to click, what to read next, and what to add to an electronic text. There is something different going on. It could be novelty. I suspect it is something more.
In this essay I will argue that hypertext challenges our notions regarding the relationship between reader and writer. Hypertext gives "permission" to readers to insert themselves into the meaning construction process and "write" a text in a way that is often different from what the author foresaw. Hypertext makes us conscious of the blurring of the reader/author role. Book technology seems to fix our notion of authorship and hypertext challenges us to rethink that role and the role of the reader. Historically, however, there have been other "challenges" to these roles, which is an important consideration when discussing the role hypertext plays in the act of reading and writing. The authors I will draw on most frequently in this discussion will be Janet Murray, George Landow, Sven Birkerts, and Ilana Snyder.
Sven Birkerts (1994)believes that electronic text, and hypertext in particular, is killing the author. In a traditional reading situation, Birkerts places the writer, "the flesh and blood individual" at one end of a continuum. At the other is "the flesh-and-blood reader" (96). He places between these two, "words on a page [that'] don't change" (96) Birkerts is uncomfortable with the disorientation he experiences when he reads hypertext. And he worries that hypertext will destroy literature and its role in our culture. He believes that hypertext and other electronic texts will weaken the quality of writing and displace order for chaos.
Snyder Ilana Snyder believes that hypertext is changing our notions of authorship. She notes that the absence of textual autonomy and centeredness disperses the author. But Snyder points out that the amount of control experienced by a reader is largely dependent on hardware and software. In Storyspace, for example, a hypertext writing program published by Eastgate Systems, links can be hidden in the text and the reader must either search for the links by randomly clicking on words that might be a link, or by executing a key stroke that highlights where the links are in the lexia. She points out that computers shape the way we think, encouraging some kinds of thinking and discouraging others. She uses the example of a blackboard where text is created with the assumption that it will be erased. Paper and pen writing encourages writers to attend to grammar and spelling and to use a more controlled type of thinking. Computers invite writers to think non-linearly and cooperatively. She points out that "we organize our writing space in the way we organize our thoughts, and in the way in which we think the world itself must be organized (69).
I know that for most of my life I wanted to write short stories. I never seemed to be able to do that using paper and pencil or even a typewriter. I tried. I never finished anything and I was never happy with what I had written. It wasn't until I got my first computer, IBM's first laptop. They didn't sell and so IBM offered them to teachers for $300. I bought one and six months later I wrote my first short story. Had I been willing to turn the story into a novel, as two editors, one from Farrar, Stauss, and Giroux and the other from Houghton Mifflin suggested, I might have sold it. Such was the power of electronic writing from me as a writer. The task was simply different in front of a computer than in front of a typewriter or with a paper and pencil.
Landow writes that hypertext blurs the boundaries between reader and writer and claims that, because of the nature of hypertext, the fact that the reader has to make choices and acts upon those choices by clicking on a word or image, the reader becomes "active." Perhaps it is important to point out here that although I consider Landow one of the key figures in hypertext theory, I have difficulty with his use of the word "active" here. All reading, all meaning construction is active. Reading is not a passive activity. Yet Landow sometimes uses passive and active in his explanations and defense of hypertext. For example, he points out in his first Convergence text ((1992) that hypertext "provides an infinitely re-centerable system whose provisional point of focus depends upon the reader, who becomes an active reader…" (11).
Perhaps a better word to explain the role of the reader in this re-centerable system is the word "deliberate." Hypertext reading requires the reader to make deliberate decisions about which path to take within a hypertext web. And as I write this, I know that there are instances when readers of more traditional texts like dictionaries and encyclopedias, not to mention magazines, make deliberate choices regarding where and what they will read. But for the time being, until I can come up with a better word, I will describe the hypertext reader as deliberate, as one who deliberately reads a text according to his or her own interests or organizing principles.
Landow frequently mentions narratologist Gerard Genette, and Genette's ideas are particularly relevant to a discussion of the reader/writer roles. Landow, citing Genette, maintains that hypertext is a means of escaping what Genette refers to as the idolatry or idealization of the author. Hypertext, because of its openness, its fuzzy borders that are so easily permeated, makes the author's role as diffused as the boundaries of the text itself. Landow also talks about Walter Ong's theory regarding the relationship between computer technology and orality. Ong argues that computers have brought with them a "second orality" that is very similar to the participatory sense of community and a focus on the present moment in oral cultures. And though Ong seems to go astray when he talks about computers and sequential processing, he (and Landow) make the interesting point that books and their authors cannot be challenged in any immediate sense.
Hypertext readers, however, can challenge a text immediately, or as immediately as the reader can write a response and link that response to the author's text. This placement of text within a larger domain of text places the reader and the writer in a kind of dialogue that cannot happen as easily in the world of paper and ink.
Murray poses an interesting argument that in electronic text, which includes other media besides hypertext, the author still exists but as a choreographer. The reader is not the author of the text but can experience many of the "exciting aspects of artistic creation-the thrill of exerting power over enticing and plastic materials" (153). Murray makes an intriguing point. The reader of electronic text, and especially hypertext, is not experiencing authorship. The reader is experiencing agency. Murray defines agency as the ability to take meaningful actions and to see the results of those actions (126). Murray points out that the kind of agency that takes place in the reading of hypertext fiction, particularly, is rather rare in more traditional narrative forms. The difference may be that by entering a computer environment, the reader alters the environment of the text through his or her participation.
In the case of MUD's and MOO's, textual gaming spaces, (now often spaces in which colleagues gather to "talk") the reader can greatly alter the environment by creating new spaces in which to play or participate. This has happened in a number of gaming MUD's and MOO's where participants, dismayed over the types of interactions they were encountering , simply constructed new "rooms" or other spaces in which to play out their character's actions. And at times players have simply created spaces in which to converse with other players or characters without challenge from those who wanted to duel or engage in other types of narratives. But the reader can insert himself or herself in more pragmatic hypertexts as well, simply through the act of deliberately selecting which lexias or writing spaces he or she will read. And the reader can write a response and link it to the piece he or she is responding to. This is always an option in hypertext.
If hypertext is challenging the role of author and reader, it is not the first textual innovation to do so. Ilana Snyder (1996) reminds us that in manuscript days scribes often altered the work they were copying. This blurred, even then, the boundaries between author and reader. Snyder adds that the tradition of print literacy privileges the author. Nothing, supposedly, can be changed about a text once the author (along with the publisher and editor) have finished with the text. French literary critic Roland Barthes, in his interesting essay "The Death of the Author," (1993) points out that a piece of text is "not a line of words releasing a single 'theological' meaning (the message of the Author-God), but a multi-dimensional space in which a variety of writings, non of them original, blend and clash" (116).
Most hypertext theorists would agree. Snyder also points out that oral texts had many of the features that theorists claim are inherent in hypertexts. Oral texts could be revised at will by the speaker who altered stories depending on the prompts from an audience. But book technology provided a new framing device for narrative and other forms. Murray (1997) points out that with electronic text the "author" is procedural, like a choreographer "who supplies the rhythms, the context, and the set of steps that will be performed" (153). The reader, or as she calls him or her, the "interactor", is a "navigator, protagonist, explorer, or builder, [who] makes use of [a] repertoire of possible steps and rhythms to improvise a particular dance among the many, many possible dances the author has enabled. We could perhaps say that the interactor is the author of a particular performance within an electronic story system, or the architect of a particular part of the virtual world, but we must distinguish this derivative authorship from the original authorship of the system itself" (153)
In this sense, Murray is reminding us that each time a reader enters a hypertext web, the reader creates a "new" text, written by the choices he or she makes as she travels through the docuverse. And Landow (1992, 1997) consistently reminds us that the text an interactor reads is not necessarily the text an author planned. All this seems much like the ancient storyteller who changes the text to fit the wishes of each audience. The audience and the storyteller (author) collaborate to create the narrative.
Collaboration is a key element in hypertext reading and writing. In a sense both the reader and the writer collaborate with the computer. But because the reader is physically required to execute some sort of command and to make a choice as to which command, the reader collaborates with the author. We can put this in Murray's terms and say that the reader or dance is collaborating with the choreographer or writer so that some version, perhaps a new one, of the author's plan flashes onto the screen. But Landow adds that a hypertext reader/writer "almost inevitably works collaboratively whenever creating documents in a multi-author hypertext system" (2.0, 110)
Hypertext also enables authors to collaborate from a distance. One writer may place a draft of a web up on a web space where another author, a continent away can look at it, add to it, make notes, revise the web, and place the changes in the same space as the previous one. Landow (1997) reminds us that print technology has imposed a more "passive" role on readers. This technology--that of the printed book and its close relations, which include the typed or printed page--engenders certain notions of authorial property, authorial uniqueness, and a physically isolated text that hypertexts make untenable (69). Certainly print technology can be seen as privileging the author, if for no other reason than the fact that once text is set and printed on a page it is difficult to change or add to in a way that "respects" the changes. We may insert our readerly selves into the text by making notes or underlining passages, but our notations look different and that difference clearly indicates that the changes were added after the fact.
Hypertext, however, allows the reader to insert himself or herself, either through copying and pasting words onto a new "page" or lexia, and adding to the text, or linking a reader's lexia to the author's. This of course turns the reader into an author, and has the potential to turn the author into a reader. Of course, theoretically this has always been true. Someone can alter a text by typesetting a new text, and a reader may write a critique and publish it in a book, but the process is cumbersome and even costly and delayed.
Landow believes that hypertext is the instantiation of Barthes' concepts of readerly and writerly text (Convergence,1992). Indeed, Landow borrows many of Barthes' terms when talking about hypertext-terms like lexia, meaning an individual writing space or block of text that can be accessed and has links to other lexias. Barthes envisions a readerly text as one in which networks [reseaux] are many and interact, without any one of them being able to surpass the rest; this text is a galaxy of signifiers, not a structure of signifieds; it has no beginning; it is reversible; we gain access to it by several entrances, none of which can be authoritatively declared to be the main one; the codes it mobilizes extend as far as the eye can reach, they are indeterminable…(cited in Landow, Convergence, 3). And though it seems as though Barthes is talking specifically about hypertext, he is not.
But Landow points out that hypertext blurs the boundaries between reader and author in much the way Barthes suggests text should. Landow goes one step further and posits that the distinction between readerly and writerly text is essentially the distinction between electronic or hypertext technology and print technology. Barthes writes: "…the goal of literary work (of literature as work) is to make the reader no longer a consumer, but a producer of the text. Our literature is characterized by the pitiless divorce which the literary institution maintains between the producer of the text and its user, between its owner and its customer, between its author and its reader" (S/Z 4).
Certainly a hypertext reader is more than just a consumer of the text. The hypertext reader seems more akin to the ancient audience of the storyteller--a collaborator. The hypertext reader is a deliberate force within the text itself, not divorced from the text, but a partner with both the author and the text.
Birkerts, of course, is distressed by this and blames hypertext for "delivering a mighty blow to the long-static writer-reader relationship. It changes the entire system of power upon which the literary experience has been predicated; it rewrites the contract from start to finish" (163). Birkerts warns that hypertext is ruining literacy and literature, along with killing the author. Birkerts argues that the "subjective ecology of reading" allows him to feel the power of the words on a page, and that this power cannot be felt with hypertext.
I am reminded of an interesting National Geographic site on the world wide web that allows readers to "become" someone accused of witch craft in Salem, Massachusetts in the seventeenth century. The background of the narrative is black. The reader hears wind in the trees, the tolling of a church bell, the fall of footsteps up the stairs of the gallows. Ultimately the reader "dies." The effect is chilling. Students who read the narrative are totally engaged. And yet they are clicking on frames and making choices as to how to proceed, as to how to manipulate themselves away from the hangman's noose. The reader "feels the power" of the text.
The National Geographic site and other hypertexts, bring an interesting question into the discussion--that of agency. Murray believes that hypertext does not diminish the author's agency, but it may make the reader more conscious of his or her agency within the narrative or other discursive form. Murray points out that there is a distinction between authorship and agency. Murray emphasizes that readers ...can only act within the possibilities that have been established by the writing and the programming. They can build simulated cities, try out combat strategies, trace a unique path through a labyrinthine web, or even prevent a murder, but unless the imaginary world is nothing more than a costume trunk of empty avatars, all of the [reader's] possible performances will have been called into being by the originating author (152)
It may be that print technology diminished the agency of the reader by forcing the reader to comply with a way of organizing text. Birkerts believes, however, that book text is natural and stabilizing. He writes "The words on the page, chiseled and refined by a single author, aspire to permanence" (159).
Louise Rosenblatt would disagree with Birkerts' notion of authorial power. The reader brings a text to life. In order to bring that text to life the reader must transact with the text, the reader must write the text for herself or himself. And in the reader's mind the text sifts through all of the reader's previous experiences as the reader goes through the meaning-making process. In this sense the reader is always central to the text.
Espen Aarseth, however, makes a point that transactional theory cannot adequately explain what happens when a reader engages with hypertext, or ergotic literature, as he calls it (Cybertext, 1997). The hypertext reader "also performs in an extranoematic sense" (1). This happens through the semiotic sequence of physically clicking on a hypertext link which places the reader in a physical act of meaning construction. Aarseth writes "In [hypertext] literature, nontrivial effort is required to allow the reader to traverse the text" (1). This "nontrivial effort" loosens the author's dominion over the text.
Foucault (1977) argues for a loosening of the author's constraint over text, and hypertext seems to be one way in which this can happen. He writes: Although, since the eighteenth century, the author has played the role of the regulator of the fictive, a role quite characteristic of our era of industrial and bourgeois society, of individualism and private property, still, given the historical modifications that are taking place, it does not seem necessary that the author-function remain constant in form, complexity, and even in existence" (159-160). Tuman suggests that the future of authorship "may have less to do with a single vision of writing defined in terms of invention, creativity, and copyright than with earlier, multiple visions" (64)
These multiple visions are brought on by cultural changes which brings me to an important point. Landow and the others frequently assert that hypertext is bringing about changes in the author/reader relationship. But that relationship was already being questioned by Barthes, Foucault, and Derrida who were talking about the decentered self and about the decentered or nomadic web of knowledge where knowledge can be accessed from an impermanent nomadic center (Landow 1992).
But there is a group of hypertext theorists who are, in their own way, trying to maintain the structure of a given piece of knowledge, a given piece of hypertext, not because they are necessarily alarmed by the postmodern condition and the increased agency of a reader, but because they see a disoriented reader. These are the cognitivists who approach the role of the hypertext reader and author from a different perspective. In order to understand the cognitivist approach to hypertext reading, it is important to first look at the reading theory that many of the cognitivists use as the foundation for their stance on the roles of readers and writers.
When discussing reading comprehension, many of the cognitivists use what is known as the Kintsch model of reading comprehension. This is a more linear process that only considers the cognitive processes in meaning construction. Certainly the cognitivists have brought some valuable ideas to reading theory. But in considering the role of the reader and writer, the cognitivists do not look at the social transactions involved in meaning construction.
A number of cognitivists have conducted studies on how readers engage with hypertext. One such study (Dee-Lucas, 1996) looked at the way in which undergraduates constructed meaning during a test review process that used two different kinds of hypertext--one with a hierarchical overview that indicated which headings contained the main ideas and which contained subordinate information, the other with a simple list overview that listed the headings in alphabetical order. Dee-Lucas found that students who used the hypertext containing the hierarchical overview felt better prepared for the test and had an easier time moving through the hypertext web than students who used the hypertext with the list overview.
The cognitivists tend to deal with "what is," rather than "what could be," of course. They are not so concerned with the changing role of the author and reader as they are with the ways in which current readers make use of hypertext. And so Dee-Lucas' recommendation that hypertext webs show readers where the main and subordinate ideas are within the web seems a little odd, especially in lieu of what Landow and the others say. Landow, who has overseen a huge "informational" hypertext web at Brown University would find Dee-Lucas' recommendations tantamount to heresy. The cognitivists are concerned about a reader's disorientation within a hypertext web, and indeed, that can be a concern, especially in a test preparation situation.
The problem here is that Dee-Lucas' study looked at a non-traditional piece of text that was being used to prepare students for a very traditional rule-bound task--a test. Of course students would find the hierarchical overviewed hypertext more suited to their task of test preparation. A hierarchical overview would indicate exactly what the main ideas were and which parts of the hypertext they needed to concentrate on the most. Their agency was diminished because of the task they were preparing for. In a hierarchical overviewed hypertext, the author maintains his or her power. The reader is not a collaborator. Yes, within the hierarchy, readers may choose which main idea they want to read first, but the act of suspending and balancing those ideas, the act of deciding for himself or herself which ideas are most important, has been denied the reader. The author has done that already.
Davida Charney is perhaps the most recognized of the cognitivists who write about hypertext. She scoffs at what she calls the Romantics (meaning Landow, Bolter, etc.) who approach hypertext as a more "Coleridgean" concept of an infinitely evolving text that liberates readers and writers from textual boundaries. Charney does not believe that readers necessarily know best which information is important, and so it should be the role of the author to establish that for them (241) To be fair, Charney admits that her goal is "not to accept or dismiss hypertext processes or hypertext in principle, but rather to point to specific aspects of reading and writing processes that hypertext designers must consider if they are to serve readers and writers effectively" (241).
But Charney defends hierarchical overviewed hypertexts because she believes, based on empirical studies, "that as people read, they build a hierarchically structured mental representation of the information in the text. As they read successive sentences, they link the ideas of proposition expressed in them to their developing hierarchical representation by means of chains of repeated concepts" (243). But Charney's beliefs about hypertext are based on long-established assumptions about readers and writers, assumptions that are based on a print culture that has been in place for centuries. Charney assumes that readers conduct themselves through a sequential process, one that has been designated by the author whose sole purpose is to see that the reader conducts himself or herself through a progression of ideas the author has perhaps laboriously laid out.
But the writer of a hypertext goes into the task knowing the reader will not progress through the text in any given sequence or at least has the option if taking multiple possible paths if there is a default sequence. The writer's role, as Murray says, is to choreograph the text, to set it up so that the reader can dance among the lexias as he or she sees fit. It may be that a hypertext writer will have to envision different readers who have different purposes.
Slatin (1992) actually identifies three different types of hypertext readers: the browser, the user, and the co-author (158). The browser reads for no particular purpose other than to find something interesting with which to engage. The user is looking for specific information and uses the hypertext to find that information. The co-author collaborates deliberately with the hypertext, inserting his or her own lexias in response, or incorporating existing lexias into a new hypertext web or docuverse. It is impossible, actually, to predetermine whether a hypertext will serve the needs of the browser, the user, or the co-author, so a writer cannot always create a hypertext web with any particular audience in mind. And that is why the cognitivists have some important ideas in terms of hypertext reading, at least during a time when we may be experiencing a transition between two information technologies. Most websites provide some sort of overview of what is contained in the web. Sometimes this is in the form of a site map. Other times it is in the form an opening page menu.
Where the cognitivists seem to have difficulty is in the fact that readers, when they get used to the new text spaces of hypertext, will develop new reading strategies. The cognitivists call for hierarchical overviews and more "ordered" progressions through hypertext webs seems much like the calls for order that were heard when the printing press began making an impact on how people thought about readers and writers. Landow, citing Tom McArthur, points out that, first, there is nothing natural about the book. It took four thousand years for it to come about, and that evolution disrupted the previous "elites" , the scholastics, who had worked hard to conventionalize the plots and themes, not to mention the structure and look of the books of their time. The printing press, Landow points out, presented the scholastics with a different order, a different way of organizing knowledge. And this new way may have appeared disjointed, even chaotic (Landow, 2.0, 77).
This sounds all too familiar when we read Birkerts and even Charney. Ironically, perhaps, I see all this as simply change. I enjoy my book reading life. I enjoy my hypertext reading life. The more aware I am of hypertext the more I see evidence of the rhizome, what I sometimes think of as the the proto-hypertext. Birkerts may be alarmed, but as more and more hypertext sifts into our lives, we will adapt to it and in a hundred years find Birkerts' disgruntlement charming. There may even be nostalgic Birkerts Societies where everyone swears off hypertext for a day or week when they "go back to nature."
But hypertext, whether it is literary or pragmatic, whether it is Stuart Moulthrop's latest novel or a new version of Excel, is here. And unless the lights all go out at Y2K, it will affect us all in one way or another-either through the simple click on a name in an e-mail message, the calling up of data in a spread sheet, or the browsing for information on the world wide web, it's here. We will adapt to hypertext with as much ease or as much difficulty as we adapt to a changing larger culture. Because essentially it is the culture that is changing. Hypertext is merely a symptom of that change.
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Foucault, Michel. "What Is An Author." Language, Counter-Memory, Practice: Selected Essays and Interviews by Michel Foucault. Ed. Donald F. Bouchard. Ithaca, NY: Cornell University Press, 1977.
Landow, George P. Hypertext 2.0: The convergence of contemporary critical theory and technology. Baltimore: Johns Hopkins University Press, 1997.
Landow, George P. Hypertext: The convergence of contemporary critical theory and technology. Baltimore: Johns Hopkins University Press, 1992.
Murray, Janet H. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. New York: The Free Press, 1997.
Slatin, John. "Reading Hypertext: Order and Coherence in a New Medium." Hypermedia and Literary Studies. Ed. Paul Delaney and George P. Landow. Cambridge, MA: The MIT Press, 1992. 153-169.
Snyder, Ilana. Hypertext: The electronic labyrinth. New York: New York University Press, 1996.
In the 1960s, Ted Nelson conceived of a huge electronic network to connect all the information in the world by means of cross-referenced documents (a ‘docuverse’). He coined the word ‘hypertext’ to name a tool which would create a non-sequential linking of texts. In the same decade, both literary theory and computer science were interested in the systematisation of textual forms that cited other texts – what Gérard Genette (1962) referred to as ‘palimpsests’. For Genette, hypertextuality is the relationship that links text B (the hypertext) to a previous text A (the hypotext) in a way which is not a mere commentary. In this sense, all texts can be said to be potentially hypertextual.
The increasing access to personal computers, the development of interactive technology and the advent of the internet and the World Wide Web have made Nelson’s docuverse and his notion of hypertext a reality. In Literary Machines (1981), Nelson was then able to write: ‘By hypertext I mean non-sequential writing – text that branches and allows choices to the reader, best read at an interactive screen. As popularly conceived, this is a series of text chunks connected by links which offer the reader different pathways.’
In 1992, George P. Landow, a pioneer in the use of hypertext in higher education, wrote a book whose title reveals the impact of hypertext within a cultural context informed by new technologies: Hypertext: the Convergence of Contemporary Critical Theory and Technology. In this book, computer hypertext is defined as ‘text composed of blocks of words (or images) linked electronically by multiple paths, chains or trails in an open-ended, perpetually unfinished textuality described by the terms link, node, network, web and path’ (p. 3).
Attracted by the challenge offered by electronic links, the American writer Michael Joyce experimented with hypertext to write original fiction. He then conceived of a virtual story that would never be read the same way twice: the result was afternoon, a story. Hypertext fiction (or hyperfiction) had been born.
As George Melrod (1994, p. 162) defines it, hyperfiction is ‘non-linear interactive electronic literature. Potentially, the next stage of evolution for storytelling, where text is made of light instead of ink, where you help the author shape the story, and where you never read he same novel the same way twice’. Hyperfiction can only be read on a computer screen. Readers decide where to go next by consulting the titles of linked passages or may let the links between windows or ‘lexias’ (a term used by Roland Barthes, applied in Landow, 1992) take them to an unknown place in the textual geography. They can choose whether to click on a word, on an arrow that takes them backwards or forwards, on YES and NO buttons… or simply press ‘ENTER’, which is just like ‘turning the page’. ‘The result is a kind of narrative collage, a textual kaleidoscope in which the story is cut into fragments and is constantly changing. If it’s a bit disorienting, that’s part of the idea. Instead of laying out a straight path, hyperfictions set you down in a maze, give you a compass, then let you decide where to go next’ (Melrod, 1994, p. 163).
By definition, hyperfiction is strikingly open-ended. This empowers the reader, who is not only able to make decisions such as where to go next or when to ‘put an end to the story’ but is in control of the process of appropriation (the interaction with the text that leads the reader to ‘own’ a certain reading of the text) in ways which are hard to achieve within print technology.
Michael Joyce reflects on this in an introductory lexia in his afternoon, a story:
‘WORK IN PROGRESS
Closure is, as in any fiction, a suspect quality, although here it is made manifest. When a story no longer progresses, or when it cycles, or when you tire of the paths, the experience of reading it ends. Even so, there are likely to be more opportunities than you think there are at first. A word which doesn’t yield the first time you read a section may take you elsewhere if you choose it when you encounter the section again; and sometimes what seems a loop, like memory, heads off again in another direction.
There is no simple way to say this.’
Where and how to put an end to a story must always have been one of the main preoccupations of a writer, and it is certainly the focus of the metaliterary concern which pervades the self-referential novel of the last few decades. Hypertext unveils the artificiality of closure, revealing not only the writer’s but the reader’s role in the creation of that artifice, as well as the arbitrary nature of the paths that may lead to it.
Hyperfiction is a question of texture, or, as Mary-Kim Arnold (1993) has expressed it, ‘Words that yield to the touch’. But what words will ‘yield’ if the reader clicks on them? Joyce’s explanation in afternoon, a story seems to have established the metaphor:
‘READ AT DEPTH
I haven’t indicated what words yield, but they are usually ones which have texture...’
Once again, it is the reader who decides which words ‘have texture’, which bear a tempting quality... and wherever the reader decides to click, he or she is unlikely to be disappointed. ‘The nomadic movement of ideas is made effortless by the electronic medium that makes it easy to cross borders (or erase them) with the swipe of a mouse, carrying as much of the world as you will on the etched arrow of light that makes up a cursor. [...] Each iteration “breathes life into a narrative of possibilities,” as Jane Yellowlees Douglas says of hypertext fiction, so that, in the ‘third or fourth encounter with the same place, the immediate encounter remains the same as the first, [but] what changes is [our] understanding’” (Joyce, 1995, p. 3).
The reader weaves the web of narrative possibilities, aware of the power of choice. He or she advances, down the labyrinth of ‘forking paths’ that Borges (1941) once imagined, sometimes at a loss, sometimes helped by the map, chart, tree-map or outline of links between lexias which the author may have provided. But no matter how s/he chooses to do it, the reading experience is a challenge to the stability of the traditional concepts of text, author and reader.
Delany and Landow (1991, p. 3) point out that ‘so long as text was married to a physical media [sic], readers and writers took for granted three crucial attributes: that the text was linear, bounded and fixed. Generations of scholars and authors internalized these qualities as the rules of thought, and they had pervasive social consequences. We can define hypertext as the use of the computer to transcend the linear, bounded and fixed qualities of the traditional written text.’ Devoid of paper, tablet, scroll, book... the text becomes virtual, transient. There is no stable object holding the entire text; all the reader can see is one block of text at a time and explore the electronic links that connect that lexia to others: a variable textual structure that lies behind the blocks and can be represented on screen as a tree diagram, a web, a network... There is no fixed way out of the labyrinth: you build it as you choose your way down the forking paths.
If hypertext has changed the nature of text, it has also disclosed the nature of underlying reading operations. True, the reader may apply perfectly conventional reading habits in each lexia, but, as Delany and Landow (1991, p. 4) believe, ‘[hypertext] can also provide a revelation, by making visible and explicit mental processes that have always been part of the total experience of reading. For the text as the reader imagined it – as opposed to the physical text objectified in the book – never had to be linear, bounded or fixed. A reader could jump to the last page to see how a story ended; could think of relevant passages in other works; could re-order texts by cutting and pasting. Still, the stubborn materiality of the text constrained such operations.’
Hypertext, then, is the virtual space where modern literary criticism and pedagogy meet, as the active reader in the learner-centred classroom becomes a reality rather than a desideratum. The reader as ‘producer of the text’ advocated by Barthes (1970), the active reader of Umberto Eco’s open work (1962), the Derridean emphasis upon discontinuity and decentring (Derrida, 1967), all find concrete realisation in hyperfiction. So does Bakhtin’s conception of dialogism and multivocality (1984), for ‘hypertext does not permit a tyrannical, univocal voice. Rather, the voice is always that distilled from the combined experience of the momentary focus, the lexia one presently reads, and the continually forming narrative of one’s reading path.’ (Landow, 1992, p. 11)
All this has far-reaching implications for education in general and for literary education in particular. The dialogical interaction between reader and text which allows each reader to construct ‘the meaning of the text afresh’ (Pulverness, 1996) has been (and many times still is) veiled by layers of respect for the mythical authority of writers, critics and literature teachers. Even in classrooms where the existence of multiple readings is acknowledged, there is often an underlying belief in the superiority of the teacher’s learned reading. Hyperfiction removes the veil: not only does it offer multiple readings, but multiple texts (or architectural realisations of text). This simply means that no reading (not even the teacher’s!) can be considered the ‘correct’ one, as the text itself is not fixed and it literally grows with every reading.
Hyperfiction readers are aware of the fact that they are opening the textual track as they advance. As they sit in front of the computer, they are encouraged to fill in ‘indeterminacy gaps’ (Iser, 1971) in the information as they read (or rather, navigate) the text. Though they cannot change the author’s work, they can discover multiple combinations and can actually type notes on a ‘notepad’ as they read, responding to the information gaps in the text. The boundaries between reader and writer are then blurred and the authority of the authorial voice is partially transferred to the reader. The reader activates procedural skills to make sense not only of discourse (Widdowson in Brumfit and Carter, 1985) but of the constructive web behind it.
Hyperfiction in the EFL class
What contributions can this kind of literature make to a learner-centred classroom where literature is integrated with the teaching of English as a foreign language? How can the reading experience be integrated with writing and oral activities that are meaningful? What materials can teachers and students develop using hypertext-writing programs and applications?
At present, no hyperfiction materials seem to be available to suit the needs of EFL students whose standard of English is not considerably advanced. Pilot experiences in the use of hyperfiction with advanced EFL students (Ferradas Moi, 1998) suggest a few preliminary conclusions:
carefully planned pre-computer activity is needed to acquaint the reader with the necessary information and skills required to approach the new textual form (especially with groups who are not yet comfortable with the use of computers)
the computer-based activity can be frustrating: this is perhaps unavoidable when a new format is encountered, but it also means the teacher may want to select a hypertext which resembles traditional stories to some extent rather than a more radically ‘avant-garde’ one
the post-computer activity can become a true negotiation between different readers as to what ‘the text’ means: the teacher or workshop co-ordinator can count on information and opinion gaps that will encourage involvement and give rise to a number of meaningful language activities
this also encourages learner autonomy: hyperfiction reading involves commitment on the part of the students. They are responsible for their own reading, as they will have to retell their version and support their views with constant references to the reading they have ‘saved’.
the lack of a ‘correct’ version may be particularly encouraging for the more insecure students, who feel free to express their views
above all, reading hyperfiction and writing comments as the reader advances contributes to the development of metacognitive strategies: the learner is encouraged to reflect upon his or her own hypotheses and interpretive procedures and this process raises awareness of the reader’s expectations, reading style, the affective factors at play in the building of the textual web and the way this compares to the procedures used by others
according to the participants, as they read hyperfiction at home, the experience became even more exciting as they thought of the next meeting with the other members of the group: it seems that coming to terms with the text involves discussing it with other readers (which ensures motivation and encourages collaborative learning).
However, further research needs to be done to corroborate the preliminary conclusions listed above and explore their implications. In particular, it is necessary to investigate whether these statements apply to the needs of EFL students at lower levels of proficiency.
Apart from its value concerning awareness-raising, hyperfiction can lead to meaningful classroom activities, such as:
role-play activities (dialogues between characters in the different ‘versions’)
the meaningful retelling of a student’s reading – asking the others to provide ‘closure’ and then comparing their suggestions to the ending the student ‘reached’
highly motivating writing tasks, such as descriptions of one character as seen by different readers, or a series of letters (or e-mails) from one character to another, where a number of misunderstandings will be produced by the fact that characters have different information in each case.
It can also prove enlightening to surf through an online hypernovel, Geoff Ryman’s 253, www.ryman-novel.com, and then compare it to its printed version. Students may then want to read Chris Mitchell’s review for Spike Magazine (1998)) available at www.spikemagazine.com/0398_253.htm, to see whether they agree with the critic’s views and then e-mail their opinions to him. What Mitchell writes may remind the reader of several observation made above:
‘253 refers to the number of passengers which a London Underground tube train can hold, including the driver. The novel follows the pattern of describing each of the passengers on board in exactly 253 words, including their outward appearance and their internal thoughts.
With the electronic version, the reader can choose any passenger from which to begin reading and then follow how that character interacts with the other tube travellers by clicking the links provided. It's a curiously addictive form of storytelling, relying both on the illusion that the reader is shaping the story through choosing which links to follow, and the voyeuristic joy of finding out what people really think on the tube.
However, much of this joy is lost in the printed version precisely because there are no links. … With the absence of any real character interaction, this quickly becomes tedious. As Ryman himself admits in the introduction, “Nothing exciting happens in this novel. It is ideal fare for invalids”.’
Developing critical technological literacy
Can hypertext-writing programs be used for students to develop their own stories in class? Experimentally, I observed a class of five upper intermediate EFL students in Buenos Aires give that kind of program a try. Initially, we were worried by the fact that the task of writing a short hyperfiction piece involved the use of a hypertext writing program (Eastgate Systems’ Storyspace). However, students took no time at all to learn how to use the basic functions of the program. They showed an exploratory learning mode and those with better PC skills collaborated with the others, who, in turn, paid more attention to editing, though content rather than accuracy was the focus of students’ attention.
When they evaluated the experience, students found it motivating and did not think the program was an obstacle. According to the assessment interview at the end of the project, they had found the activity ‘original’ and ‘challenging’. However, they had also found it time-consuming and the results were disappointingly simple, with very few links except for those that led the reader down parallel lines in a forking structure.
The students took the whole idea as a game and seemed to enjoy it. They even wanted to go on working outside class, which means that if we could find ways of training students to use the hypertext program and give them enough time, we could begin to throw light on some of their hyper-reading and hyper-writing operations.
In fact, simple wordprocessors can be used today to establish links from one word to another or from one text to another. This can help students write their own creative hypertextual pieces or even develop critical insights into other texts they have read by establishing intertextual relationships between texts or with their own comments. These can then be uploaded on to a class web page for other readers to share.
These are just early attempts to develop the literacies demanded by new technologies. As educators, we should bear in mind that even though we may hail the advent of forms of technology that contribute to the achievement of a more democratic, learner-centred classroom, we must be aware of the implications this may have in the particular context in which we teach and learn, so I expect further studies to consider some of the questions hyperfiction raises:
How satisfying is the reading of a permanently inconclusive work? Can the frustration of finding oneself in the same lexia again and again be overcome with considerations on how the lexia can be interpreted in its new occurrence?
To what extent is the reader free to choose where he or she is going? How much manipulation on the part of the author is there when he or she determines where links lead? Can this help us become aware of the manipulative potential of hypermedia products on the internet?
Does hyperfiction really challenge our concept of narrative? Can we do away with the narrative line, or do we put the chunks together, jigsaw-puzzle style, only to reconstruct some form of narrative line?
What possibilities does hypertext offer for the development of new pedagogical practices and the design of innovative materials?
Can hypertext help us throw light on the metacognitive processes involved in reading?
How democratic is a form that depends not only on the access to computer hardware and software but on the necessary ‘know-how’, especially in countries where access and ‘know-how’ are still the privilege of a few? Does this contribute to McLuhan’s global village or to a world whose distribution of power (and empowering knowledge) is becoming more and more unfair?
Will screens ever replace books? How will a ‘reading artefact’ look, feel, smell... in years to come? And how is that likely to change our perception of the world in general?
How will hypertext negotiate its relationship with images and audience in attractive multimedia environments such as the internet?
Hyperwriting can help students reflect on and assess the new technologies, thus contributing to the development of critical technological literacy. ‘The credibility of designers / authors…is continually open for question and challenge by hyperreaders… To carry out such assessments, readers should be discouraged from a simple consumer orientation to the Web, to learn to distinguish simple information from linked information, which… implies a host of other assumptions and values; and to resist and suspect the seductive character of multimedia Web design […] A crucial aspect of developing this capacity for critical hyperreading is, I suggest, to learn about the mechanics of Web design / authoring itself.’ (Burbules, 1998, p. 118)
These are, of course, early steps in the development of new forms of textuality which pose challenges to readers, writers and educators alike. We have started weaving a virtual web, but must try to remember that ‘you cannot, with the Web, go where no one has gone before’ (Tchudi, 2000). Like the Lady of Shallot, we must take our boat and sail down to Camelot ourselves if the elusive fascination of the virtual is to help us become aware of our place in the realm of the actual. Otherwise, we may get caught in a Web that others weave for us – and the postmodern curse will fall upon us.
N.B. Sections of this paper were published in the following articles:
Hyperfiction: Explorations in Textual Texture. In IATEFL Literature and Cultural Studies SIG Newsletter, spring / summer 2002
Hyper-reading: facing the challenge of electronic literature. In Folio 7.1, MATSDA, U.K., January 2003
Further considerations on hypertext and materials design, with details on the experiences described in the paper, can be found in: Hyperfiction: Explorations in Textual Texture. In Tomlinson, B. (ed.) Issues in Materials Development for Language Teaching, Continuum, UK (2002)
Arnold, M. (1993). Lust. Computer disc. In The Eastgate Quarterly Review of Hypertext, Vol. I, No.2, Winter 1994.
Bakhtin, M. (1984). Problems of Dostoevsky’s Poetics. Edited and translated by Caryl Emerson. Minneapolis: University of Minnesota Press.
Barthes, R. (1970) S / Z. Paris: Editions du Seuil. S / Z. (1976). Translated by Richard Miller. New York: Hill and Wang.
Beavis C. (1998). Computer Games, Culture and Curriculum. In Snyder, I. (ed.) (1998). Page to Screen – Taking Literacy into the Electronic Era. London and New York: Routledge, pp. 234–55.
Borges, J.L. (1941). The Garden of Forking Paths (trans. Donald A. Yates). In Labyrinths. New Directions, USA, 1964; Penguin, UK, 1970.
Brumfit, C. J. & R.A. Carter (1985). Literature and Language Teaching. Oxford: Oxford University Press.
Burbules N.C. (1998). Rhetorics of the Web: hyperreading and critical literacy. In Snyder, I. (ed.) (1998). Page to Screen –- Taking Literacy into the Electronic Era. London and New York: Routledge, pp.102–22
Culler, J. (1983). On Deconstruction. Theory and Criticism after Structuralism. London: Routledge.
Delany P. & G. Landow (1991). Hypertext, Hypermedia and Literary Studies: The State of the Art. In Delany P. & G. Landow, G. (eds.) (1991). In Hypermedia and Literary Studies. Cambridge (Mass.): the MIT Press.
Derrida, J. (1967). De la Gramatologie. Paris: Les Editions de Minuir. Of Grammatology. (1976). Translated by Gayatri Chakravorty Spivak. Baltimore: John Hopkins University Press.
Eco, U. (1962). L’Opera Aperta. Milan: Bompiani.
Ferradas Moi, C. (1998). Hypertext: Explorations in Textual Texture in the Learner-Centred EFL Classroom. In The Inner Eye, Buenos Aires.
Genette, G. (1962) (1989). Palimpsestos: la literatura en segundo grado. Madrid: Taurus.
Iser, W. (1971). Indeterminacy and the Reader’s Response. Quoted in Newton, K.M. (ed.). (1988). Twentieth Century Literary Theory: A Reader. London: Macmillan Education.
Joyce, M. (1990). afternoon, a story. Computer disc. Cambridge, Mass.: Eastgate Press.
------------ (1995). Of Two Minds: Hypertext Pedagogy and Poetics. Ann Arbor: University of Michigan Press
Landow, G. (1992). Hypertext: the Convergence of Contemporary Critical Theory and Technology. Baltimore and London: John Hopkins University Press.
Melrod, G. (1994). Digital Unbound. In Details, October, pp.162–5 & 199.
Mitchell, C. (1998). Mind the Gap. www.spikemagazine.com/0398_253.htm
Nelson, T.H. (1981). Literary Machines. Swarthmore, Pa.: Self-published.
Pulverness, A. (1996). Outside Looking In: Teaching Literature as Dialogue. In The Hermetic Garage, last number but three, pp. 69–85.
Ryman, G. (1996) 253. www.ryman-novel.com and (1998) 253. London: Flamingo.
Tuesday, March 21, 2017
Saturday, March 18, 2017
Just read the decade+ old not-a-memoir, not knowing about the controversy until I was a only a few pages from finishing the book.
I have trouble believing any one who read didn't see through some of the details as hyperbole. The fact that so much of it was written as dialogue would have to clue the reader that this was a story about his experience, rather than his experience.
I remember thinking that it reads like a male version of Pretty Woman. And, I qualified much of what I read with a heavy dose of authorial creative license. That was the only logical way to read it. Still, I enjoyed the story of the author's stance against AA rhetoric. I revelled in hearing his preference for the Tao te Ching over the Bible. I was happy to have the 12 steps questioned as the ONLY solution for sobriety.
I read it as fiction, with a personal message, even before learning it had been incorrectly classified as a memoir in order to get it published. And I find it amusing that the media took it at face value.
Was it well-written? It was OK. The style was interesting, but obviously not interesting enough to stand on its own literary merit and be published as a novel. But as a memoir! It was a miracle? Jeez.
Where to catalog a book makes a big difference on where it sits on a shelf in a library. And the same goes for a book store. Publishers look at who is reading. Are people more likely to pick up a story about addiction in fiction or non-fiction? Publishers look at their catalogs. They have a surfeit of novels but not much selling as memoir. So they tweak it to fit what will sell.
As a naive, unpublished author Frey just went along with the hype to get it out there.
I'm sure reviewers (including Oprah) were embarrassed to learn they had praised the book based on a lower bar having been set for a memoir than a novel. To me, this speaks to our own hungers and needs to feed on the adversity of others more than our ability to judge a book by its cover. Yes, I find this disturbing. But not anything new.
Frey wrote something timely. Wrote it from his own experience, in his own voice. And, I believe, his experience of writing was an excellent example of an exercise in bibliotherapy. His fictionalized story was his confession. His confession was a catharsis. And the catharsis was instrumental in his recovery. I applaud the semi-autobiographical novel for its cathartic success, if not its literary merit. Read it as entertainment, rather than as how-to conquer addiction.
Memoir doesn't have to be a trainwreck in order for us to not look away. The writing itself can carry us forward, can provide the impetus of not being able to put a book down.
Frey as an inexperienced, but not untalented, writer served as his own fluffer. He couldn't get it up without overstimulation. "It" being the genius of an memoirist who not only tells a story, but tells their own story, with truth and beauty.
The publishing industry has to take the fall here. In the end, Frey's book speaks to his readers on their own level and conveys his message. For Frey, the success is in being heard. For the publishing community, the failure of categorical integrity resulted in financial success.
And the whole Oprah component, well, that WAS unfortunate...
Friday, March 17, 2017
Tuesday, February 21, 2017
For anyone who has played with companions as a gamer and wondered about cross-pollination of the virtual and the real. Chiang raises many questions: aesthetic, emotional, romantic, ethical. The questions transcend AI issues and are always there just underneath our conscious level of self-awareness.
At 150 pages, Chiang's longest work to date. I, for one, would like to see something even longer. Would have loved to have seen his characters fleshed out with the psychological depth possible in another 150 pages.
Monday, February 20, 2017
Friday, January 27, 2017
...to pretend, to live as if life might yet lead all the way to unexpected deliverance, is the best way to keep from dying in midfable ...the promise of fiction, the pleasure, our one moral obligation ...the shape of the storied curve--the beginning, development, complication, end. It is the point of being, the thing bones were built for, broken by, the land all leaps aim at, the link, the hovering conclusion, her whole-body therapy, the reading cure.
Saturday, January 14, 2017
Tuesday, January 10, 2017
Wednesday, January 04, 2017
Tuesday, January 03, 2017
Sunday, November 13, 2016
Thursday, October 13, 2016
Wednesday, October 05, 2016
Tuesday, October 04, 2016
Saturday, September 24, 2016
Wednesday, September 21, 2016
Wednesday, September 14, 2016
Monday, September 05, 2016
Tuesday, August 30, 2016
"...I let my thoughts do what they would. Passive watching is an intense and private activity. It leaves a residue."
"Sitting there looking out at the landscape is like having a dye injected so that the tendrils of memory in the brain light up and trace the private history of your mind."
"Think of all the people in the world and then think that each has a story to tell. ... What discouraged was the similarity of the stories, the repetition of the basic forms. ... Only a handful, really, with rather fewer variations than you would expect."
It seems Jenny Diski's life story had quite a few interesting variations, including a kind of foster child relationship with Doris Lessing and sketchy experiences with questionable psychiatric care. One doctor had her injected with methyl amphetamine twice a week in order to induce a state of abreaction.
Monday, August 29, 2016
Friday, August 26, 2016
Saturday, August 06, 2016
Bibliotherapy: de-stressed reading in the 21st century
Sunday, July 17, 2016
Tuesday, July 12, 2016
2002 - Launched The Reading Agency
2004 - Launched a Reading Partners scheme with publishers to get author events happening in all libraries across the UK. The scheme started with 5 publishers and now involves over 40 partners.
2011 - Launched Reading Groups for Everyone so far more people could benefit from sharing their reading. 2,500 reading groups joined
2013 - A record breaking 810,089 children took part in the 2013 Summer Reading Challenge in libraries whilst another record breaking 35,000 young people and adults took the Six Book Challenge. Launched Reading Well Books on Prescription, and was given £1million by the Paul Hamlyn Foundation to develop our Reading Activists programme for disadvantaged young people.
"During the 1990s, Miranda McKearney OBE, Anne Sarrag and Debbie Hicks worked with librarians to create three small organisations which explored new solutions to social issues caused by literacy problems. They felt there was potential for public libraries to play a bigger role in helping people become confident readers. The organisations were called Well Worth Reading, LaunchPad and The Reading Partnership."
"Around Miranda's kitchen table they brainstormed new approaches and started new programmes like the Summer Reading Challenge. The work grew hugely, and the three small organisations were merged to form a charity called The Reading Agency, launched at the British Library in 2002."
What does a bibliotherapy session look like?A bibliotherapy session is a read-aloud session: a facilitator reads a selection of literary materials that correspond with a particular issue that an individual or a group have to address through the session. The reading is followed by a guided group discussion. During the discussion, the participants are encouraged to ask questions and share their stories relevant to issues and situations discussed. The session often involves a variety of writing exercises that provide the participants with another powerful way of expressing themselves.
How are books selected for bibliotherapy sessions?Books used can be fiction (short stories, excerpts from novels), poetry or non-fiction (biography, memoirs, collections of true stories, self-help books, etc.). In bibliotherapy, the value of literature depends strictly on its capacity to encourage a therapeutic response from the participants.
Hospice Toronto, Toronto, Ontario, September 18, 2012
An interactive bibliotherapy workshop: “Rewards and Challenges of a Hospice Volunteer Role.”
St. John’s Compassionate Mission, Toronto, Ontario www.stjohnsmission.orgIn 2011-2012, Natalia Tukhareli delivered workshops for the clients of St. John’s Compassionate Mission in Toronto.
The biliotherapy sessions address he following topics:
- Breaking isolation and building connections with ourselves, family,
community and nature
- Enhancing positive thinking, gratitude and appreciation for Life
- Being a Parent: Joys and Challenges.
Canadian Center for Abuse Awareness (CCAA), Toronto, Ontario www.ccfaa.comIn November 2011, Natalia Tukhareli developed a bibliotherapy booklist on abuse for the Canadian Centre of Abuse Awareness (CCAA). The list of recommended titles on sexual abuse included resources for young children, teens, adults and practitioners. www.ccfaa.com/?page_id=1799
Nkosis Haven, Johannesburg, South Africa www.nkosishaven.orgIn 2010, Natalia Tukhareli developed an innovative Bibliotherapy Program on HIV/AIDS and successfully implemented this program in Johannesburg, South Africa as a part of the Nkosi’s Haven Library project.
Phillips said the global increase in blood flow during close reading suggests that "paying attention to literary texts requires the coordination of multiple complex cognitive functions." Blood flow also increased during pleasure reading, but in different areas of the brain. Phillips suggested that each style of reading may create distinct patterns in the brain that are "far more complex than just work and play."
After reviewing early scans, neuroscientist Bob Dougherty, research director of CNI, said he was impressed by "how the right patterns of ink on a page can create vivid mental imagery and instill powerful emotions."
With the field of literary neuroscience in its infancy, Phillips said this project is helping to demonstrate the potential that neuroscientific tools have to "give us a bigger, richer picture of how our minds engage with art – or, in our case, of the complex experience we know as literary reading."
Monday, July 11, 2016
from Tristine Ranier of THE NEW DIARY
excellent resources for bibliotherapy
Types of Autobiographic WritingThere are so many types of autobiographic writing that you can waste time in confusion about which kind is appropriate for your story. Here you will find definitions of each and published examples. You can read examples of the type of writing you wish to do. Read them for inspiration and think about their structure as you read. Notice what the writer does that would work for you, try to identify what devices the author employs that you don’t yet know how to use, but also notice where you lose interest and try to figure out why.
A Full Autobiography covers an entire life from birth to the present.
There are three good reasons for choosing this traditional form.
- You are writing for yourself to discover the meaning of your life by setting it down.
- You are writing your life story for your offspring so that they can know you as a person not just as a parent or grandparent.
- You are famous, distinguished in your field, or infamous. You know people are interested in the story of your entire life and that a full autobiography by you would be published.
- John Houseman’s three volumes: Run-through, Front and Center, and Final Dress
- Elia Kazan’s A Life,
- Ceramicist Beatrice Wood’s I Shock Myself.
A memoir may be publishable if it focuses on a topic of significant popular interest or if it is so well written that it can be considered literature.
The limiting frame may be determined by a particular period in your life, for example, your childhood, your adolescence, or your fabulous fifties.
- Willie Morris’ New York Days is restricted to the period when he was editor of Harper’s.
- Lillian Hellman’s Scoundrel Time is about the McCarthy era of the 1950s.
- Tobias Wolff’s This Boy’s Life
- James Joyce’s Portrait of An Artist as a Young Man
- Russell Baker’s Growing Up
- Maya Angelou’s I Know Why the Caged Bird Sings
MEMOIRS OF PLACE from a multitude of regional voices have become very popular in contemporary American literature. A memoir’s frame may also be limited by a particular setting as with:
- Annie Dillard’s Pilgrim at Tinker Creek
- Isak Dinesen’s Out of Africa
- Alfred Kazin’s A Walker in the City
- Joan Didion’s Slouching Toward Bethlehem
- Phyllis Barber’s How I Got Cultured: A Nevada Memoir
A memoir can also be limited by the author’s RELATIONSHIP WITH AN INDIVIDUAL OR GROUP. Colette’s Sido is about the author’s relationship with her beloved mother. Simone de Beauvoir’s Adieux, A Farewell to Sartre is about her affair and friendship with the Existentialist philosopher. Ernest Hemingway’s A Moveable Feast is restricted by place (Paris), period (1920’s-30’s ), and his social relationships with an interrelated group of American expatriate artists and writers.
The PORTRAIT closely resembles a thematic memoir which focuses on a relationship, except that the portrait emphasizes the subject rather than the author. In Patrick O’Higgins’ Madame: An Intimate Biography of Helena Rubinstein, O’Higgins is present as protégé to the cosmetics queen, but his concentration is on Rubinstein’s life rather than his own. Geoffrey Wolff’s, The Duke of Deception, is simultaneously a coming of age memoir and a portrait of his father, a con artist par excellence. Depending on popular interest in your subject or your ability to tell the story of a fascinating character, portraits may be publishable.
Chip Jacobs’ book, Wheeler-Dealer: The Rip-Roaring Adventures of my Uncle Gordon, a Quadriplegic in HOLLYWOOD is an example of a Portrait Memoir. Chip’s book is a biography of his outrageous Uncle Gordon and journalist Jacobs’ unearthing of family secrets despite his mother’s opposition.
In addition, memoirs may be limited by A PARTICULAR THEME. There are as many possible thematic topics for narrative memoirs as for novels, and new thematic memoirs bear close resemblance to contemporary novels.
Catana Tully’s book, Split at the Root, is an examples of a Thematic Memoir. Her book explores the theme of cross cultural adoption. It is also an example of the most difficult type of memoir writing to pull off, for it uses the “transparency” technique that interweaves several story lines into one. Tully’s search for the secret of her “private adoption” forms the frame of a detective story upon which two other story lines are woven.
Some thematic areas have a tradition of their own:
VOCATIONAL and OCCUPATIONAL memoirs are among the oldest types of thematic memoir. The vocational memoir may cover the subject’s entire life, but is limited to those parts which relate the recognition and fulfillment of a particular “calling.”
- Malcolm X’s The Autobiography of Malcolm X as told to Alex Haley
- Ghandi’s An Autobiography
- Saint Theresa of Avila’s The Way of Perfection
- Melvin Konner’a Becoming a Doctor
- Oliver Sack’s The Man Who Mistook his Wife for a Hat
- Joy Sterling’s A Cultivated Life, A Year in a California Vineyard
- Baryshnikov’s Baryshnikov at Work
- Gelsey Kirkland’s Dancing on My Grave
The Bible itself could be considered a collection of religious autobiographies. Paramahansa Yogananda’s Autobiography of a Yogi also fulfills the didactic function of most religious memoirs.
A NEW SPIRITUAL AUTOBIOGRAPHY has also emerged which is written as self discovery rather than edification, each person finding a different spiritual myth or meaning, which cannot be a model for anyone else except as the demonstration of process. The spiritual journey turns out to be the most individual dimension of a life.
Another traditional theme common to thematic memoirs is ADVENTURE, as in THRILLING MEMOIRS, WAR STORIES and NEAR DEATH encounters. The Thrilling Memoir requires the dramatic structure of a struggle and a physical crisis, climax and resolution. While many such stories are authentic, be aware that those which appear in male appeal Soldier of Fortune magazines and female appeal True Confession periodicals are not real memoirs at all, but fictional pieces written in the first person, or “pseudo memoirs.”
The HISTORICAL MEMOIR is the one form of thematic autobiographic writing in which the importance of factual accuracy and chronology supersedes the creative imperatives of inner truth. Heavily influenced by journalism and reportage, historical memoirs are often authenticated by quotes from newspapers, letters and other verifiable, external records. The historical memoir is written not only to tell the subject’s own story, but also to document the story of his or her times. Yet even with the most conscious commitment to objectivity the historical memoir is really a settling of accounts, a selective statement of how the author wishes to be remembered in history. Examples include:
- The Education of Henry Adams
- The Autobiography of W.E.B. Du Bois
- Ida B. Well’s Crusade for Justice
- Margaret Thatcher’s The Downing Street Years.
DEALING WITH ADVERSITY is in some ways the theme of all narrative autobiography, but there is a particularly rich tradition about struggles with a particular medical or physical malady, such as blindness, cancer, or paralysis. Originally this type nearly always took the form of the INSPIRATIONAL, a struggle against odds in which the courage of the subject brings about a triumph, at least of spirit, in the end.
More recently, a new LITERATURE OF ADVERSITY has evolved which does not depend upon the “final triumph,” but which derives its value from the depth and frankness of its discussion. Nancy Mairs, an author who has multiple sclerosis and has written of it in several memoirs, said in an interview that the cliched story of overcoming illness does a disservice to people with disabilities It sets up the belief that if one just wants to get up and walk badly enough they should be able to. This message does “a real injustice to people with disabilities and to the general population in making them not experience genuine human suffering and loss and discovering the dimensions of those experiences that are transcendent.” Examples include:
- Norman Cousins’ Anatomy of an Illness
- Betty Rollins’ First You Cry
- Caroline Knapp’s Drinking: A Love Story
The theme of the INDIVIDUAL IN OPPOSITION TO SOCIETY, pervasive in the American novel,, also fuels a broad range of memoirs, including a rich body of gay and lesbian coming out stories, the autobiographic works of Beat poets such as Lawrence Ferlinghetti and Jack Kerouac, and a burgeoning, diverse literature which explores social themes of race, class, sex, ethnic or age discrimination. Recently, Mark Matousek’s Sex Death Enlightenment: A True Story combined the bravado of this type of memoir — memorializing his decadent life as a male hustler and member of Andy Warhol’s Factory — with the redemptive ending of the confession.
The CONFESSION: The spiritual confession begun by Augustine follows a clear plan: the recounting of one’s sins followed by the mending of one’s ways. The key is to detail for a reader’s enjoyment all your naughtiness (this should be the bulk of the work) and then tell why you aren’t that way anymore. There are many secular examples of the form, among them:
- Thomas De Quincy’s Confessions of an English Opium Eater
- Julia Phillips’s You’ll Never Eat Lunch in this Town Again, a confession of crack cocaine addiction
- Pete Hamill’s The Drinking Life, an alcoholic’s confession.
Reminiscence, Reflection, Meditation and Reverie proceed by free association rather than chronology. They tend to be the least commercial type of autobiographic writing because they don’t offer the reader a story and characters to hold onto. Carl Jung’s autobiography Memories, Dreams, Reflections is a reverie that concentrates on the inner life of the subconscious rather than the outer life of events. His work demonstrates that within the inner world one can find specific images and details — necessary to keep such writing from becoming too abstract.
The PERSONAL ESSAY is undergoing a contemporary renaissance, nurtured by magazines such as Harper’s, The New Yorker, and the “His” and “Hers” sections of the New York Times Magazine. In his introduction the fine anthology he edited, The Art of the Personal Essay, Phillip Lopate traces the form back to Seneca and Plutarch, but attributes the source of its democratic informality to Michel de Montaigne, who wrote, “Every man has within himself the entire human condition.”
The new personal essay is nothing like those little torture chambers of rhetoric and logical argument you had to write in English I. Freed by public indifference, it has evolved into a meditation which explores how individual minds work, how they move by free association through thoughts and feelings to small, often subtle, realizations. Structurally it is the most accepting form, allowing digressions, contradictions, mental journeys and apparent shapelessness. Like poetry, it depends less on story than on motif and asks for precision and economy of language, though in a conversational, intimate style. Unlike autobiographic narrative, the personal essay need not have the dramatic shape of a story. According to Lopate, it is structured by the progression toward personal truth, “the ‘plot’ of a personal essay, its drama, its suspense, consists in watching how far the essayist can drop past his or her psychic defenses toward deeper levels of honesty.”
An important key in writing the personal essay is to choose a very narrow frame, a limited, small subject which you enlarge by exploring in detail and depth. The personal essay is a tiny aspect of a life under a microscope. Outstanding examples of collections of personal essays are:
- Bernard Cooper’s Map’s to Anywhere
- Phillip Lopate’s Against Joie de Vivre and Bachelorhood
- Sally Tisdale’s Lot’s Wife: Salt and the Human Condition
- Diane Ackerman’s A Natural History of the Senses
- Barbara Kingsolver’s High Tide in Tucson
- Each year you may find wonderful examples collected in The Best American Essays of…(that year) edited by Robert Atwan.
The TRAVELOGUE, the memoir of a journey can be a particularly entertaining form of autobiographic writing if it doesn’t fall into simply describing “what you saw” in dutiful chronological order. The form is at least as old as Margery Kemp’s thirteenth century “as told to” account of her travels through England as an eccentric single older woman. In our time Paul Theroux’ The Great Railway Bazaar, The Old Patagonian Express and The Iron Rooster and Peter Mayle’s A Year In Provence demonstrate that it is not so much the journey or place, but the character, feelings and reactions of the author which hold our interest. Somewhat irascible narrators seem to write the most compelling travel memoirs, probably because their exacting personalities put them into constant conflict with their foreign surroundings.
The AUTOBIOGRAPHIC SHORT STORY as it appears in magazines is often indistinguishable from first person short fiction. In writing an autobiographic short story you take a single, small turning point in your life as the epiphany of the story. Sometimes episodes in your life may suggest a particular literary style or genre, so there can be autobiographic ghost stories, autobiographic comedies of manners, autobiographic magic realism. Ray Bradbury’s collection of short stories about his charmed childhood, Dandelion Wine, although memoir, reads like his science fiction.
Autobiographic short stories can be written piecemeal, published individually in different magazines, and later collected in a book. Nearly all the stories in Pam Houston’s Cowboys are my Weakness were first published in women’s or literary magazines as short fiction. Yet assembled they can be read as the memoir of a woman who keeps finding herself in relationships with guys “whose favorite song is Desperado.” An earlier example of this appealing ‘two for one’ form is Christopher Isherwood’s Berl in Stories. Each of his autobiographic stories is complete in itself, and together they make a coherent memoir of Isherwood’s life in Berlin in the late 1930’s.
The AUTOBIOGRAPHIC NOVEL differs from the thematic memoir in the degree to which it fictionalizes the author’s experiences. Pat Conroy wrote two autobiographic novels, The Great Santini and The Prince of Tides, about a boy’s childhood dominated by a father who, like his own, was overbearing and abusive. In both books names and identifying details are fictionalized, but the characters have the problems of Conroy’s actual family members. In The Great Santini the father is a Marine lieutenant, in The Prince of Tides he is a shrimper, but in both novels he instills the same fear in his sons.
The autobiographic novel is a solution for those who have a whopper of a story to tell, but cannot for various reasons publish it as a memoir. Sylvia Plath’s autobiographical novel The Bell Jar about a teenage girl’s nervous breakdown, closely follows the events of Plath’s early life.
In calling her work a novel, even an autobiographic novel, an author distances herself from the subject matter and tells the reader, “Do not ask me about this. I have given you what matters in this story in the most beautiful language I can find. In making it a novel I have assumed a boundary of protection for myself and others. Do not cross it; do not pry.” In calling her work a novel, the author is also making a claim to its artistic merit. In some cases it is easier to publish an autobiographic novel than a memoir, but the writing must be of higher literary quality than is required of most memoirs.
The COMPLAINT differs from autobiographic protest literature because the author does not find his or her oppression in social causes but in the misdeeds of a particular person. It is a very publishable form of Portrait if the author’s subject is famous. Examples include:
- Christina Crawford’s Mommy Dearest
- Patti Davis’ The Way I See It, an Autobiography
- Barbara Davis Hyman’s My Mother’s Keeper
The CONCEPTUAL AUTOBIOGRAPHY is a twentieth century innovation, akin to New Journalism, where the author goes out and does something outrageous or puts himself into an unusual situation in order to write about the experience. The earliest example may be George Orwell’s Down and Out in Paris and London where Orwell intentionally allowed himself to fall into miserable poverty so he could report how men live on the bottom rung of society. In order to experience racial discrimination first hand and write Black Like Me, John Howard Griffin dyed his white skin to make himself appear to be an African-American. Cameron Crowe pretended to be a high school student to write Fast Times at Ridgemont High. Nancy Weber put an ad in the Village Voice offering to swap her home, job, friends and lover with another woman in order to write Life Swap.
For a writer who is not well-known, conceptual autobiography may be the most publishable type if you can come up with a fresh concept, live through it, and write about it with insight. But such life experiments can be dangerous, and they are essentially artificial. Sue Estroff, a social anthropologist, wrote about her attempt to live among the street “crazies” in Madison, Wisconsin’s flop houses to study their culture. She wrote a profoundly moving account which demonstrates that how we treat the mentally ill makes them more crazy, but in the process of living like them and even taking their medication, she nearly lost her own sanity.
All the best writers who have tried to become someone else in order to write about it have learned that you cannot really know another’s life experience. You can gain insights, you can observe other people’s reactions to how you appear, but still you are yourself assuming a costume and a role.
Autobiographic WORKS OF HUMOR range from vanilla souffles to black bitters. Erma Bombeck wrote autobiographic personal essays and books about ridiculousness of domestic life such as The Grass is Always Greener over the Septic Tank and If Life is a Bowl of Cherries what am I doing in the Pits?. S.J. Perelman showed the humor in cultural misunderstandings in The Swiss Family Perelman, about his family’s temporary relocation to Thailand in the 1940’s. Art Buchwald mixes his practiced wit with painful childhood memories in Leaving Home. Comedian Rick Reynolds developed a successful one man show, “Only the Truth is Funny,” based on the professional and personal failures of his life. It was when he gave up, moved to a small town and wrote only the truth to please himself that he came up with a work that brought him success.
FAMILY HISTORY or the FAMILY SAGA is often considered a form of autobiographic narrative because it is one person’s exploration of self-identity, but it is not “I” writing about “I.” I have noticed that writers who try to record the stories of ancestors along with their own life often end up with two works instead of one. Family histories can fall into the dutiful and often laborious tracing of the family tree and the telling of disconnected anecdotes, unless enlivened with fictional devices and the an ever-present narrator’s voice.
If you wish to publish a work about ancestors, you will have to write it like a novel with all the devices and drama of fiction. The most famous published example is Alex Haley’s Roots.
DRAMAS and FILM SCRIPTS can be autobiographic works. Eugene O’Neill’s and Tennessee Williams’ powerful dramas are based on their experiences, and solo showcases based on a writer/actor’s own life are currently the rage. Dennis Palumbo wrote the script of the film My Favorite Year about his initiation into the television business, but autobiographic film scripts are rare. To fit your story into the structural requirements of a multi-character play or film demands a distance and objectivity about your material that few autobiographic writers have or should have. However, it you chose to try these forms, you’ll find the story structure guidelines in the previous chapters indespensible.
OTHER FORMS of autobiographic writing include some literature for children or young adults, personal newspaper or magazine columns such as those by Anna Quinlen, Ellen Goodman, and Ellen Snortland and personal magazine articles such as those in Reader’s Digest and Reminisce magazine.
ORIGINAL FORMS AND HYBRIDS. The most exciting examples of New Autobiography are combinations of forms which have never been tried before. Laura Esquivel’s Like Water for Chocolate is simultaneously a memoir, a novel and a cookbook. In Susanna Kaysen’s Girl, Interrupted, about having been committed to a mental institution, each chapter has qualities of poetry, the personal essay, and the short story. There are no transitions between chapters, but altogether the work is like a novel in that it follows a small group of characters and completes each of their stories. It also harks back to the historic memoir in that it includes validating documents, namely photocopies of hospital forms completed by Kaysen’s psychiatrists and nurses. The book’s combination of subjective narrative and clinical documentation emphasizes its thematic conflict, giving two opposing answers to the narrator’s question – was she or was she not sane? The impersonal nature of the clinical reports of her mental illness contradict the human intimacy and sanity of her narrative writing.
Having Our Say, a surprise bestseller adapted as a Broadway play is experimental in form because two sisters in their 80’s, Sarah Delany and Elizabeth Delany, collaborated to write one memoir. But perhaps the most original form of New Autobiography to date is Art Spiegelman’s Maus: A Survivor’s Tale. It is a comic strip in which Jews are mice and Nazis are cats, and, at the same time, an autobiographic exploration of Spiegelman’s relationship with his father, who recalls for his son his terrifying memories of being a hunted by Nazis.
In addition to these recognizable types, there are some important American traditions of autobiographic narrative. Within the AFRICAN-AMERICAN TRADITION can be found some of our most outstanding examples of autobiography, memoir and the autobiographical novel. The tradition begins with slave narratives told to white writers, but freed African-Americans quickly recognized the need to write their own stories. Early on their quest for freedom is linked with their quest for literacy. The critic Robert Stepto traces the primary African-American archetype of the articulate hero, who discovers the links between freedom, struggle and literacy, to the 1845 Narrative of the Life of Frederick Douglass, An American Slave, Written by Himself. Other examples are:
- Richard Wright’s Black Boy
- James Baldwin’s Nobody Knows My Name
- Claude Brown’s Manchild in the Promised Land
- Gordon Parks’s A Choice of Weapons
- James Meredith’s Three Years in Mississippi
- Eldridge Cleaver’s Soul on Ice
- Cecil Brown’s Coming Up Down Home
The African-American tradition of female autobiographic writing includes:
- Harriet “Linda Brent” Jacobs’s 1861 account, Incidents in the Life of a Slave Girl: Written by Herself
- Elizabeth Keckley’s Behind the Scenes: or Thirty Years a Slave and Four Years in the White House
- The Life and Religious Experience of Mrs. Jarena Lee
- The Writings of Rebecca Cox Jackson
- Angela Davis’ An Autobiography
- Marita Golden’s Migrations of the Heart
- Alice Walker’s You Can’t Keep a Good Woman Down
The ASIAN AMERICAN TRADITION is indebted to the African American tradition in recognizing the need to own anger in order to find an authentic voice. But issues of conditioned passivity and ingrained respect for parents and one’s heritage are particular to the Asian-American tradition. Probably because they have been in the United States longer, Chinese-Americans have made a stronger contribution to autobiographic writing than other Asian-American groups to date.
The LATINO AMERICAN TRADITION, like that of other ethnic minorities in the States, is about finding one’s voice, but with a particular conflict between the narrator’s self perceived in Spanish versus in English. Richard Rodriguez’ Hunger of Memory, the Education of Richard Rodriguez is a thematic memoir which explores the conflict between Spanish as the personal language of home and intimacy versus English a public language of commerce and achievement. His Days of Obligation: An Argument With my Mexican Father participates simultaneously in the Mexican American tradition of autobiographic writing and in the tradition of gay coming out literature. Sandra Cisneros’ memoir The House on Mango Street shows the influence of Latin American literature on Latino American memoir writing.
The first generation of JEWISH AMERICAN autobiographic writers dealt with immigrant experience and the Holocaust; later generations are dealing with different aspects of assimilation. Examples include:
In addition to the oral tradition, there are over 600 published works which are called Native American autobiography, but over three-quarters of them were written by Caucasian anthropologists who imposed their own meanings and values on the lives they recorded. This has established a kind of collaborative tradition of its own which is quite controversial. Combining both the native oral tradition and the written collaborative tradition, Greg Sarris wrote a portrait of his grandmother, Mabel McKay, Weaving the Dream.
Mabel, a Pomo Indian medicine woman and basket weaver, could not understand why her grandson, a professor at UCLA, kept worrying about finding a theme to tie together all her stories for his book. “Why would you need to tie them together?” Mabel asked — another example of how differently Native Americans view autobiography.. Sarris says that he never did succeed in giving his work conventional thematic unity, but he did, in writing it, succeed in unifying himself. Born Native American and Filipino on his father’s side and white and Jewish on his mother’s, Sarris grew up feeling illegitimate about his identity until, like his basket weaver grandmother, he was able to make a whole from the fragments. In order to be true to who he is Sarris had to create a composite form from at least three pre-existing traditions. In so doing he also participated in the evolution of the Native American tradition of autobiographic writing.