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By Gunnthórunn Gudmundsdóttir

Borderlines. Autobiography and Fiction in Postmodern lifestyles Writing locates and investigates the borderlines among autobiography and fiction in several types of life-writing relationship from the final thirty years. This quantity deals a worthwhile comparative method of texts via French, English, American, and German authors to demonstrate the several types of experimentation with the borders among genres and literary modes. Gudmundsdottir tackles very important modern issues equivalent to autobiography's dating to postmodernism via investigating issues resembling reminiscence and crossing cultural divides, using images 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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And the same is true for our memory: 'it is in society that people normally acquire their memories. '42 History plays an important part in Perec's W ou le souvenir d'enfance. It is so strongly linked with his memories of his own past that sometimes he cannot tell the two apart: 41 42 Don DeLillo, Underworld (London: Picador, 1998), p. 512. Halbwachs, op. , p. 38. 46 Borderlines Longtemps j'ai cru que c'était le 7 mars 1936 qu'Hitler était entré en Pologne. Je me trompais, de date ou de pays, mais au fond ça n'avait pas une grande importance.

Even though he finds out that they are false, they are still his memories and therefore at some level 'true'. The prevalent impression the reader gets is that Hellman is not only trying to explain her past to the reader but to herself as well. As if she is constantly looking and searching for some truth or some incident that could give meaning to her life in the autobiographical process. Memory is her tool but it is not always comforting, sometimes she moves 'near an edge'. Richard Poirier points out in his introduction to Three: [Hellman's] capacity in any given situation or conversation to carry in her head and in her heart analogous moments from the past and, perhaps as a consequence, to allow Memory and the Autobiographical Process 43 positions she does not immediately share to have the last word - it is this which helps make a positive virtue of that 'indecision and vagueness' which irritated one theatrical director about her.

More than that, it also means choosing a form for these memories, a narrative structure. In doing so the autobiographer consciously forgets (if that is possible) other interpretations of the same event, other memories that might contradict the one he or she writes about. If remembering is being present to something that was earlier, 'the act of writing it down turns it into the past' and the past is irretrievable. In both Perec's and Hellman's works there are quite obvious instances of editing.

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