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; 1 x 10 x 5.75 Inches; 205 pages; J ill Ker Conway, one of our most
admired¬†¬†autobiographers--author of The Road from Coorain and True
North--looks astutely and with feeling into the modern memoir: the forms
and styles it assumes, and the strikingly different ways in which men and
women respectively tend to understand and present their lives.
narrative rich with evocations of memoirists over the centuries--from
Jean-Jacques Rousseau and George Sand to W. E. B. Du Bois, Virginia Woolf,
Frank McCourt and Katharine Graham--the author suggests why it is that we
are so drawn to the reading of autobiography, and she illuminates the
cultural assumptions behind the ways in which we talk about ourselves.
Conway traces the narrative patterns typically found in
autobiographies by men to the tale of the classical Greek hero and his
epic journey of adventure. She shows how this configuration evolved, in
memoirs, into the passionate romantic struggling against the conventions
of society, into the frontier hero battling the wilderness, into self-made
men overcoming economic obstacles to create an invention or a fortune--or,
more recently, into a quest for meaning, for an understandable past, for
an ethnic identity.
In contrast, she sees the designs that women
commonly employ for their memoirs as evolving from the writings of the
mystics--such as Dame Julian of Norwich or St. Teresa of Avila--about
their relationship with an all-powerful God. As against the male
autobiographer's expectation of power over his fate, we see the woman
memoirist again and again believing that she lacks command of her destiny,
and tending to censor her own story.
Throughout, Conway underlines the
memoir's magic quality of allowing us to enter another human being's life
and mind--and how this experience enlarges and instructs our own lives.