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Mother–daughter relations in Paule Constant’s fiction
Gill Rye

mean, however, that Tiffany, Chrétienne and Aurore are one and the same character; nor can they be read autobiographically, and related in a straightforward way to Constant herself, despite the fact that obviously autobiographical elements are included in her work: as a child, Constant lived in turn in Africa and Cayenne with her parents, and she makes no secret of the fact that Confidence pour confidence has its roots in her own US experiences. Rather, the metafictional aspects of Confidence pour confidence throw into relief the complex relationship between fiction and

in Women’s writing in contemporary France
Sylvie Germain and the generic problems of the Christian novel
Margaret-Anne Hutton

). Inasmuch as Germain could be said to have female precursors these are to be found not in the genre of the novel, but in the field of devotional and mystical literature, often autobiographical in form, which flourished in France especially in the seventeenth century (represented by, for example, Madame Acarie, Marie Guyard, Marguerite-Marie Alacoque and Madame Guyon). Notable later figures include Thérèse de Lisieux (–) and Simone Weil (–), with both of whose work Germain engages in her Les Echos du silence ().4 Many of the above figures departed, often quite

in Women’s writing in contemporary France
Open Access (free)
Theoretical debates and the critical erasure of Beckett’s cinema
Matthijs Engelberts

autobiographical elements which it may be seen to contain’ – elements from Keaton’s, not Beckett’s, autobiography. This surprising reading of the film as an autobiographical document on Keaton (to my knowledge this is the only example of such an interpretation) shows the extent to which Film is seen in relation to its lead actor, even if the author of the script is lauded in the same breath in this article. More often, however, it is a case of Keaton taking the limelight in spite of Beckett. ‘[Keaton] wrests the script from its author’s hands, just like that, by being there

in Beckett and nothing
Open Access (free)
Simon Parry

disjunctive forms. There is the slightly amateurish and idiosyncratic film documentary of the voyage with short clips of different people she shared the voyage with or happened to meet. This is framed though by the interventions of her cast of fictional characters from the past and the future who offer ghostly commentaries on the eco-political context of the Cape Farewell project. These commentaries are interspersed with Hopkins’ autobiographical storytelling and performances of original songs composed in her distinctive orchestrated folkrock style, reminiscent of singer

in Science in performance
Steve Sohmer

-text and William scenes? I suggest that the former illustrates episodes in Marlowe’s and Nashe’s careers while the latter is autobiographical. Scene 3.3 shows us a spying Jaques-Marlowe overhearing Touchstone-Nashe’s ‘great reckoning’ lines, and Clown-Nashe brought face to face with a Mar-text. Below I will suggest that 5.1 functions to introduce a

in Reading Shakespeare’s mind
Jonathan Atkin

Faith of the N.C.F.’ in The No Conscription Fellowship Souvenir – The N.C.F. 1914–1919 (London, 1919). See UL,LC, file of S. White, CO/FAU Section. Society of Friends – Friends Service Committee, The Absolutists’ Objection to Conscription – A Statement and an Appeal to the Conscience of the Nation (London, 1917). See UL,LC, file of J. Sadler, CO/FAU Section. Ibid. Manifesto of the N.C.F. (London, 1915). See UL,LC, file of J. Sadler, CO/FAU section. UL,LC, file of Frank Shackleton, ‘All My Tomorrows’ (manuscript of unpublished autobiographical novel), p. 81. Ibid

in A war of individuals
Open Access (free)
Ben Okri, Chenjerai Hove, Dambudzo Marechera
Elleke Boehmer

accounts of Marechera may also be found in: Robert Fraser, Ben Okri: Towards the Invisible City (Tavistock, Devon: Northcote House, 2002), pp. 45–7; Flora Veit-Wild, ‘Introduction’ in Marechera, The Black Insider, pp. 5–22. For his internal struggles with language, see also The House of Hunger, pp. 30–1. For a discussion of Marechera’s work as self-critically autobiographical, see: Melissa Levin and Laurice Taitz, ‘Fictional autobiographies/autobiographical fictions’, Journal of Commonwealth Literature, 32:1 (1997), pp. 103–15. For an insightful account of Marechera as a

in Stories of women
Open Access (free)
Peter Morey

treated as separate entities, and Mistry has firmly refuted any direct autobiographical elements in the migration stories in Tales from Firozsha Baag, despite critics’ determination to look for them there. His own view is more circumspect: ‘Writers write best about what they know … In the broad sense, as a processing of everything one hears or witnesses, all fiction is autobiographical – imagination ground through the mill of memory. It’s impossible to separate the two ingredients.’6 Morey_Mistry_01_Chap 1 4 9/6/04, 4:06 pm Contexts and intertexts 5 Being part of a

in Rohinton Mistry
De-scribing Imperial identity from alien to migrant
Peter Childs

also impinges on other ‘Indian’ writers growing up in Britain. Meera Syal describes how her semi-autobiographical character Anita came to this realisation that she had no home that she had ever visited: Papa’s singing always unleashed these emotions which were unfamiliar and instinctive at the same time, in a language I could not recognise but felt I could speak in my sleep, in my dreams, evocative of a country I had never visited but which sounded like the only home I had ever known. The songs made me realise that there was a corner of me that would be forever not

in Across the margins
Open Access (free)
Don’t Ever Wipe Tears Without Gloves as a reparative fantasy
Anu Koivunen

someone having been there  –​and someone bearing witness –​testifying in the present moment. Second, while not autobiographical, Don’t Ever Wipe Tears Without Gloves reiterates many familiar themes of Gardell’s writing and stage performances since the late 1980s: growing up as a queer child in a religious home, being harassed at school, bearing social stigma, and experiencing and living with the threat of violence. These topics as well as the use of the autobiographical self are the very core of Gardell’s oeuvre. Third, in interviews on Don’t Ever Wipe Tears Without

in The power of vulnerability