Why does it seem as if everyone is writing memoirs, and particularly women? The current popularity of memoir verifies the common belief that we each have a story to tell. And we do...especially women. Memoirs are not only representations of women’s personal lives but also of their desire to repossess important parts of our culture, in which women’s stories have not mattered. Beginning with her own motivations for writing memoirs, Helen M. Buss examines the many kinds of memoir written by contemporary women: memoirs about growing up, memoirs about traumatic events, about relationships, about work. In writing memoirs, these women publicly assert that their lives have mattered. They reshape the memoir, a form as old as the middle ages and as young as today, into a social discourse that blends the personal with the political, the self with the significant other, literature with history, and fiction with autobiography and essay. Buss urges readers to use their reading experience to help themselves understand and write the significance of their own lives. Repossessing the World is the first book-length critical inquiry into women’s use of a form that has often been dismissed as less important than autobiography, less professional than the novel, and less intellectual than the formal essay. Buss demonstrates that the memoir makes its own art, not only through selective borrowing from these genres but also through the unique way that the tripartite narrative voice of the memoir constructs the personal and public experience of the memorist as significant to our cultural moment.
In Mapping Our Selves Helen Buss considers a broad range of autobiographical works written by Canadian women, including memoirs, journals, and conventional autobiography as well as experiments in blending a number of writing genres. She constructs her own "mapping" theory of how female identity is formed in order to illustrate how identity can be understood through the relationship between writer, text, and reader.
Annotation A critical inquiry into women's use of the memoir, a form that has often been dismissed as less significant than autobiography, less professional than the novel, and less intellectual than the essay. Buss (aka Margaret Clarke; English, U. of Calgary) argues that the memoir "bridges the typical strategies of historical and literary discourses in order to establish necessary connections between the private and the public, the personal and political ... The memoir is increasingly used (by women) to interrogate the private individual's relationship to a history and/or a culture from which she finds her experience of her self and her life excluded." Annotation c. Book News, Inc., Portland, OR (booknews.com).
How does the imagination entwine the shreds of memory of family, place and culture to root a self in the fluid experience of the present? Daughter, wife, mother, teacher, writer and feminist academic, Helen M. Buss / Margaret Clarke has lived in many parts of Canada and writes from a life of multiple perspectives full of contradictory loyalties and obligations, of opposing histories and identities. For this woman, whose sense of a unified identity is so tenuous that she even writes under two names, writing memoirs becomes the way to bring together the diverse strands of her life. A Newfoundland girl who awakened to the public world just at the moment her homeland joined Canada, she writes of her childhood, of the effects of war, technology, the politics of nation and gender, and of the private world of several generations of her close-knit family. From the perspective of a woman from “away”, she discovers a New Found Land of “girlhood” that weaves past and present in a narrative that delights in questioning its own making.
Intends to better equip readers with tools with which they can examine, and make sense of, the intersections of communication and gender. This text covers the variety of ways in which communication of and about gender and sex enables and constrains people's intersectional identities.
In our modern age of streaming media and scheduled recreation, it’s easy to forget what childhood used to be like—the everyday discoveries and delights, the hilarious catastrophes and small triumphs. No Ordinary Life is a time machine taking us back to Depression-era Salt Lake City, where Helen grew up making wonderful memories: “Spring was here! I coaxed Mama to let me leave my coat home. That way everyone could see my new dress! And that gave me two things to brag about, because most of the children were still cumbered with their winter coats. I was so excited at being center stage, I was talking non-stop as we arrived at school, and opened the doors to the long closet in back to remove our coats. As I sat, I became aware of an unusual silence. Strange. The bell hadn’t rung. I looked around to see what was the matter, and I heard some giggles and whispers, and I saw a girl point at me. I looked at me too. I was sitting there in my petticoat. Instantly I knew what had happened. I had absent-mindedly taken off my button-down-the-front-dress as if it were my coat, and hung it up with everyone else!” Despite poverty and stress, Helen’s stories focus on joy and adventure . . . while providing a poignantly authentic lens on her family and herself. No Ordinary Life is the first book of The Greatest Gamble series, and covers Helen’s life from her earliest memories through junior high.
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