Borderlines: Autobiography and Fiction in Postmodern Life by Gunnthórunn Gudmundsdóttir
By Gunnthórunn Gudmundsdóttir
Borderlines. Autobiography and Fiction in Postmodern Writing locates and investigates the borderlines among autobiography and fiction in several types of life-writing relationship from the final thirty years. This quantity bargains a important comparative method of texts via French, English, American, and German authors to demonstrate the various sorts of experimentation with the borders among genres and literary modes. Gudmundsd?ttir tackles vital modern issues akin to autobiography’s courting to postmodernism through investigating topics comparable to reminiscence and crossing cultural divides, using pictures in autobiography and the position of narrative in life-writing. This paintings is of curiosity to scholars and students of comparative literature, postmodernism and modern life-writing.
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Memory and the Autobiographical Process 47 history and puts the importance of the private and the individual back in the picture. This use of fiction does not make Perec's account less truthful, what it does is to allow him to address the real and almost unsayable horror of those years and, by basing it on a story he wrote as a child, he links it firmly to his childhood, to his origin. There is a constant movement between the public and the private in this text, and between public and private memory, as he remembers the medal torn off him as perhaps being the physical memory of the star pinned on.
His own room, Anne Frank's room, Dickinson's room, these are the concrete spaces of memory, writing and solitude. Places of remembrance that have now (or some of them at least) become monuments to this remembrance and writing. This investigation of solitude in 'The Book of Memory' is what links it to 'Portrait of an Invisible Man' and gives new meaning to the title as he invents not only his father's solitude (see chapter 5), but also his own. Auster writes on his life by remembering other lives, other writers, other stories, other texts.
Here she describes a process of remembering and forgetting: The piles and bundles and ribbons and rags turn into years, and then the years are gone. There is a light behind you certainly, but it is not bright enough to illuminate all of what you had hoped for. The light seems shadowed or masked with an unknown fabric. So much of what you had counted on as a solid wall of convictions now seems on bad nights, or in sickness, or just weakness, no longer made of much that can be leaned against. It is then that one can barely place oneself in time.