This open access book offers innovative and wide-ranging responses to the continuously flourishing literary phenomenon of autofiction. The book shows the insights that are gained in the shift from the genre descriptor to the adjective, and from a broad application of “the autofictional” as a theoretical lens and aesthetic strategy. In three sections on “Approaches,” “Affordances,” and “Forms,” the volume proposes new theoretical approaches for the study of autofiction and the autofictional, offers fresh perspectives on many of the prominent authors in the discussion, draws them into a dialogue with autofictional practice from across the globe, and brings into view texts, forms, and media that have not traditionally been considered for their autofictional dimensions. The book, in sum, expands the parameters of research on autofiction to date to allow new voices and viewpoints to emerge.

Norwegian author Karl Ove Knausgård’s six-volume, 3600-page autobiographical novel, My Struggle, has been widely hailed for its heroic exploration of selfhood, compulsive readability, and restless experimentation with form and genre. Knausgård and the Autofictional Novel explains why. Across four chapters, Claus Elholm Andersen shows how Knausgård confronts, challenges, and rejects the symbiotic relationship between novels and fiction, particularly via a technique of "auto-fictionalization." The fifth chapter then explores the further breakdown of this relationship in autofiction by Sheila Heti, Rachel Cusk, and Ben Lerner, taking readers to what Lerner called "the very edge of fiction."

Taylor Swift, arguably the most prolific and acclaimed singer-songwriter of the 21st century, has shaped her listeners' collective consciousness and challenged her industry's often limiting attitudes toward genre, revision, and collaboration. Although Swift is a perennial subject in the media, cast in both a positive and a negative light, few professional scholars have considered her ever-growing body of work. The Literary Taylor Swift examines Swift's significance and timeliness through literary analysis and theory. Taylor Swift has been celebrated for her ability to craft immersive narratives and to articulate, with lyrical acuity, a broad range of emotional experiences, and her lyrics underscore her profound relationship with text. The Literary Taylor Swift explores Swift's engagements, intertextual and otherwise, with literature and treats her songs as literature-as, that is, stories, poems, and other textual forms to which literary-critical theories and methodologies can and should be productively applied. This collection offers carefully curated arguments constellated around four key relationships: Swift and the literary-historical canon; Swift and the language of gender and sexuality; Swift and the relationship between writing and memory; and Swift and the nature of literary craft.

This is the first English-language volume on representations of women at work in contemporary French cultural productions. It covers a variety of genres: literature, cinema and television, journalism, bande dessinée. Draws from a wide range of work experiences from salaried work in academic, artistic, corporate and working-class worlds to unpaid—reproductive, domestic—labour, illegal activities and activism.

Examines how German-Jewish writers from Eastern Europe who migrated to Germany during or after the Cold War have widened European cultural memory to include the traumas of the Gulag.

Autofiction is often associated with humour, irony, and play. Moreover, authors of autofictional texts are frequently criticised for a lack of seriousness or for failing to straightforwardly and in their own voice engage with a given topic. Yet very few autofictional texts are exclusively, or even primarily, playful. Many employ humour and irony to address very serious subject matter. This volume explores how these seemingly opposed characteristics of autofictional texts in fact work together. The contributions in this volume show that autofictional texts often make use of humour and play in a productive and meaningful way, tackling issues such as human rights violations, historical and collective as well as personal trauma, and struggle with psychological or physical illness and abuse. On the basis of geographically wide-ranging case studies, including texts from South America, South Africa, the United States, and Europe, this book explores how, in which contexts, and to which effects autofictional texts reveal their authors’ complex and often painful psychological experiences and engage the emotions of their readers. This book was originally published as a special issue of the journal Life Writing.

Women in Rock Memoirs vindicates the role of women in rock music. The chapters examine memoirs written by women in rock from 2010 onwards to explore how the artists narrate their life experiences and difficulties they had to overcome, not only as musicians but as women. The book includes memoirs written by both well-known and lesser-known artists and artists from both inside and outside of the Anglo-American sphere. The essays by scholars from different research areas and countries around the world are divided into three parts according to the overall themes: Memory, Trauma, and Writing; Authenticity, Sexuality, and Sexism; and Aging, Performance, and the Image. They explore the dynamics of memoir as a genre by discussing the similarities and differences between the women in rock and the choices they have made when writing their books. As a whole, they help form a better understanding of today's possibilities and future challenges for women in rock music.

Takes the recent wave of German autobiographical writing on illness and disability seriously as literature, demonstrating the value of a literary disability studies approach.

A brilliant and addictive collection of brand-new essays on modern culture - from 'the pre-eminent and most widely read critic of her generation' The Times Included as a 2024 highlight in the Observer, Stylist, the Skinny, BBC Online and the Independent 'Funny, insightful and bang on the money' Stylist -------------------------------------------- I heard this crazy story, and I want you to know. It is the age of internet gossip; of social networks, repackaged ideas and rating everything out of five stars. Mega-famous celebrities respond with fury to critics who publish less-than-rapturous reviews of their work (and then delete their tweets); CEOs talk about reclaiming 'the power of vulnerability'; and in the world of fiction, writers eschew actually making things up in favour of 'always just talking about themselves'. In this blistering, irreverent and very funny first book of non-fiction, Lauren Oyler - one of the most trenchant, influential, and revelatory critics of her generation - takes on the bizarre particularities of our present moment in a series of interconnected essays about literature, the attention economy, gossip, the role of criticism and her own relentless, teeth-grinding anxiety. Illuminating and thought-provoking, by turns drily scathing and disarmingly open, No Judgement excavates the layers of psychology and meaning in how we communicate, tell stories and make critical judgements - to offer dazzling insights into how we live and think today. 'Brisk, honest and soaring with élan' Naoise Dolan, author of The Happy Couple 'Smart and unafraid and (thank God) funny. This is exactly what I want to read' Monica Heisey, author of Really Good, Actually 'Oyler is the kind of dangerous contemporary writer we need more of' Niamh Campbell, author of We Were Young