Bøger i Life Writing serien

This volume is the first to approach Tibetan life writing from a literary and narratological perspective, encompassing a wide range of disciplines, themes, media, and historical periods, and thus opening new and vibrant areas of research to future scholarship across the Humanities.

This book showcases a unique, innovative form for contemporary life narrative scholarship. It positions the essay as a unique nexus of creative and critical practice.

This volume applies the insight and methods of career construction theory to explore how autobiographical writing is used in different professional careers, from fiction and journalism to education and medicine.

This book depicts that autofictional texts often make use of humour and play in a productive and meaningful way, tackling issues like human rights violations, historical, collective and personal trauma, and struggle with psychological or physical illness and abuse. It was originally published as special issue of Life Writing.

The memoir of renowned Canadian composer John Beckwith recounts his more than sixty years in creative output and music education. His life story is a slice of Canadian cultural history. Canadian composer John Beckwith recounts his early days in Victoria, his studies in Toronto with Alberto Guerrero, his first compositions, and his later studies in Paris with the renowned Nadia Boulanger, of whom he offers a comprehensive personal view. In the memoir s central chapters Beckwith describes his activities as a writer, university teacher, scholar, and administrator. Then, turning to his creative output, he considers his compositions for instrumental music, his four operas, choral music, and music for voice. A final chapter touches on his personal and family life and his travel adventures. For over sixty years John Beckwith has participated in national musical initiatives in music education, promotion, and publishing. He has worked closely with performing groups such as the Orford Quartet and the Canadian Brass and conductors such as Elmer Iseler and Georg Tintner. A former reviewer for the Toronto Star and a CBC script writer and programmer in the 1950s and 60s, he later produced many articles and books on musical topics. Acting under Robert Gill and Dora Mavor Moore in student days and married for twenty years to actor/director Pamela Terry, he witnessed first-hand the growth of Toronto theatre. He has collaborated with the writers Jay Macpherson, Margaret Atwood, Dennis Lee, and bpNichol, and teamed repeatedly with James Reaney, a close friend. His life story is a slice of Canadian cultural history.

It is Easter Sunday, April 1945, early in the morning, maybe just dawn. We stand still, like frozen grey statues. Us. Seven hundred and thirty women, wrapped in wet, grey, threadbare blankets, standing in the rain. Our blankets hang over our heads, drape down to the soil. We hold them closed with our hands from the inside, leaving only a small opening to peer out, so that we save the precious warmth of our breath. So begins the author s sojourn, her search for freedom that begins with the chaotic barrenness in which she found herself after her liberation on Easter Sunday, April 1945, and takes her across several continents and half a lifetime. Raab paints a brief yet moving picture of her idyllic life before her internment and the shock and the horrors of Auschwitz, but it is in the images of life after her liberation, that Raab imparts her most poignant story a story told in a clear, almost sparse, always honest style, a story of the brutal, and, at times, the beautiful facts of human nature. This book will appeal to a number of audiences to readers interested in human nature under the most trying circumstances, to historians of World War II or Jewish history, to veterans and their families who lived through World War II, and to those interested in politics and the evils of political extremism.

Scratching River braids the voices of mother, brother, sister, ancestor, and river to create a story about environmental, personal, and collective healing. This memoir revolves around a search for home for the author s older brother, who is both autistic and schizophrenic, and an unexpected emotional journey that led to acceptance, understanding and, ultimately, reconciliation. Michelle Porter brings together the oral history of a M tis ancestor, studies of river morphology, and news clippings about abuse her older brother endured at a rural Alberta group home to tell a tale about love, survival, and hope. This book is a voice in your ear, urging you to explore your own braided histories and relationships.

This edited collection considers the ways older women¿s life narratives redefine culturally imposed conceptions of what it means to grow older.

The first full-length study of prison life writing, this book shows how the autobiographical literature of incarcerated people is consistently based on a conversion narrative, the same narrative that underpins prison rehabilitation.

Explores the parallel processes of dispossession suffered by nineteenth-century Scottish crofters expelled from their ancestral lands during the Highland Clearances, and by the marginalization of coastal fishing communities in Nova Scotia. The book memorializes local ways of life that were destroyed by the forces of industrial production.

Examines the memoirs of famous Canadian women, such as L.M. Montgomery, Nellie McClung, the Dionne Quintuplets, Margaret Trudeau, and Shania Twain, to trace the rise of celebrity autobiography in Canada and the role gender has played in the rise to fame and in writing about that experience.

An updated edition of a bestselling book in the food writing genre from award-winning author and journalist Edna Staebler. In the 1960s, Edna Staebler moved in with an Old Order Mennonite family to absorb their oral history and learn about Mennonite culture and cooking. From this fieldwork came the cookbook Food That Really Schmecks. Originally published in 1968, Food That Really Schmecks instantly became a classic, selling tens of thousands of copies. Interspersed with practical and memorable recipes are Staebler s stories and anecdotes about cooking, life with the Mennonites, family, and the Waterloo Region. Described by Edith Fowke as folklore literature, Staebler s cookbooks have earned her national acclaim. Back in print as part of Wilfrid Laurier University Press s Life Writing series, a series devoted celebrating life writing as both genre and critical practice, the updated edition of this groundbreaking book includes a foreword by award-winning author Wayson Choy and a new introduction by well-known food writer Rose Murray.

Henry Schogt met his wife, Corrie, in 1954 in Amsterdam. Each knew the other had grown up in the Netherlands during World War II, but for years they barely spoke of their experiences. This was true for many people the memories were just too painful. Years later, Henry and Corrie began to piece their memories together, to untangle reality from dreams. Their intent was to help others understand what had happened then, and how it influenced and affected not only their lives but those of all who survived. The seven stories in The Curtain reveal how two families one Jewish, one non-Jewish fared in the Netherlands during the German occupation in World War II. Each vignette highlights a specific aspect of life; all show how life changed for everyone, and forever. Four stories are based on the author s memories of his own non-Jewish family: Henry s friendship with a Jewish teenager; the conflict of personal antipathy with the realization that help must be provided; the Schogt parents determination to do the right thing; the difficulties of coping with an aunt with Nazi sympathies. These are stories about the randomness of survival and the elusive nature of memory. For the Jewish family, three stories drawn from the memories of the author s wife and family demonstrate the bewildering situation of trying to make impossible life-determining decisions when faced with confusing and deceitful decrees. The family must struggle with the luck or absence thereof of finding refuge when forced from their homes, and with the perplexing inconsistencies of the collaboration of Dutch authorities and police with the Nazis. The Curtain emphasizes the difference between the options that were open to non-Jews and Jews in the Netherlands. Non-Jews could freely choose whether to actively resist the Germans, collaborate with the Nazis, or just to do nothing, and try to live a normal life in spite of wartime restrictions. Dutch Jews, on the other hand, did not have a choice whatever they did, whatever decisions they made, they were doomed, and it often seemed, when someone survived, just simple luck. A short introduction about the war years and an appendix with a chronology of decrees, events, and statistics, provide background information for this haunting memoir of those disturbing years during the German Occupation in the Netherlands.

The essays in Tracing the Autobiographical work with the literatures of several nations to reveal the intersections of broad agendas (for example, national ones) with the personal, the private, and the individual. Attending to ethics, exile, tyranny, and hope, the contributors listen for echoes and murmurs as well as authoritative declarations. They also watch for the appearance of auto/biography in unexpected places, tracing patterns from materials that have been left behind. Many of the essays return to the question of text or traces of text, demonstrating that the language of autobiography, as well as the textualized identities of individual persons, can be traced in multiple media and sometimes unlikely documents, each of which requires close textual examination. These unlikely documents include a deportation list, an art exhibit, reality TV, Web sites and chat rooms, architectural spaces, and government memos, as well as the more familiar literary genres a play, the long poem, or the short story. Interdisciplinary in scope and contemporary in outlook, Tracing the Autobiographical is a welcome addition to autobiography scholarship, focusing on non-traditional genres and on the importance of location and place in life writing. Read the chapter Gender, Nation, and Self-Narration: Three Generations of Dayan Women in Palestine/Israel by Bina Freiwald on the Concordia University Library Spectrum Research Repository website.

It s an autobiography! If I tell you what s in it you won t read the book. Claire Drainie Taylor Or would you? Maybe you d be intrigued by the progression of a life begun as an unexceptional little girl born to a middle-class Jewish Canadian couple in a small prairie town who, at age sixteen, married a refined Englishman, and survived the Great Depression, partly alone in a shack in the woods of Vancouver Island. Or how, only a few months after returning to Vancouver, with no training and minimal education, this same young woman walked on stage at one of Canada s finest old theatres, and went on to a successful thirty-year career as an actress and radio dialogue writer. Having been compelled by her family to write her memoir, it wasn t until she d finished and reread her manuscript that Claire Drainie Taylor realized what an extraordinary life she d led. Her descriptions of the many fascinating incidents that make up her story, and how she dealt with them, revealed herself to herself in a way that illuminates what she calls The Surprise of My Life.

What is memory, and where is it stored in the body? Can a room be symbolic of a lifetime? Memories are like layers of your skin or layers of paint on a canvas. In The Queen of Peace Room, Magie Dominic peels away these layers as she explores her life, that of a Newfoundlander turned New Yorker, an artist and a writer and frees herself from the memories of her violent past. On an eight-day retreat with Catholic nuns in a remote location safe from the outside world, she exposes, and captures, fifty years of violent memories and weaves them into a tapestry of unforgettable images. The room she inhabits while there is called The Queen of Peace Room; it becomes, for her, a room of sanctuary. She examines Newfoundland in the 1940s and 1950s and New York in the 1960s; her confrontations with violence, incest, and rape; the devastating loss of friends to AIDS; and the relationship between life and art. These memories she finds stored alongside memories of nature s images of trees pulling themselves up from their roots and fleeing the forest; storms and ley lines, and skies bursting with star-like eyes. In The Queen of Peace Room, from a very personal perspective, Magie Dominic explores violence against women in the second half of the twentieth century, and in doing so unearths the memory of a generation. In eight days, she captures half a century.

On a May morning in 1939, eighteen-year-old Velma Demerson and her lover were having breakfast when two police officers arrived to take her away. Her crime was loving a Chinese man, a crime that was compounded by her pregnancy and subsequent mixed-race child. Sentenced to a home for wayward girls, Demerson was then transferred (along with forty-six other girls) to Torontos Mercer Reformatory for Females. The girls were locked in their cells for twelve hours a day and required to work in the on-site laundry and factory. They also endured suspect medical examinations. When Demerson was finally released after ten months incarceration weeks of solitary confinement, abusive medical treatments, and the state s apprehension of her child, her marriage to her lover resulted in the loss of her citizenship status. This is the story of how Demerson, and so many other girls, were treated as criminals or mentally defective individuals, even though their worst crime might have been only their choice of lover. Incorrigible is a survivor s narrative. In a period that saw the rise of psychiatry, legislation against interracial marriage, and a populist movement that believed in eradicating disease and sin by improving the purity of Anglo-Saxon stock, Velma Demerson, like many young women, found herself confronted by powerful social forces. This is a history of some of those who fell through the cracks of the criminal code, told in a powerful first-person voice.

In the 1950s, Anne Innis Dagg was a young zoologist with a lifelong love of giraffe and a dream to study them in Africa. Based on extensive journals and letters home, Pursuing Giraffe vividly chronicles the realization of that dream and the year that she spent studying and documenting giraffe behaviour. Dagg was one of the first zoologists to study wild animals in Africa (before Jane Goodall and Dian Fossey); her memoir captures her youthful enthusiasm for her journey, as well as her n ivet about the complex social and political issues in Africa. Once in the field, she recorded the complexities of giraffe social relationships but also learned about human relationships in the context of apartheid in South Africa and colonialism in Tanganyika (Tanzania) and Kenya. Hospitality and friendship were readily extended to her as a white woman, but she was shocked by the racism of the colonial whites in Africa. Reflecting the twenty-three-year-old author s response to an exotic world far removed from the Toronto where she grew up, the book records her visits to Zanzibar and Victoria Falls and her climb of Mount Kilimanjaro. Pursuing Giraffe is a fascinating account that has much to say about the status of women in the mid-twentieth century. The book s foreword by South African novelist Mark Behr (author of The Smell of Apples and Embrace) provides further context for and insights into Dagg s narrative.

This book showcases a unique, innovative form for contemporary life narrative scholarship. It positions the essay as a unique nexus of creative and critical practice.

Deeply informed by archival research and current scholarship, but written as a reflective and intimate memoir, What the Oceans Remember addresses current issues in migration, identity, belonging, and history through an interrogation of race, ethnicity, gender, archives and memory.

Bird-Bent Grass chronicles an extraordinary motherdaughter relationship that spans distance, time, and, eventually, debilitating illness. Personal, familial, and political narratives unfold through the letters that Geeske Venema-de Jong and her daughter Kathleen exchanged during the late 1980s and through their weekly conversations, which started after Geeske was diagnosed with Alzheimer's disease twenty years later. In 1986, Kathleen accepted a three-year teaching assignment in Uganda, after a devastating civil war, and Geeske promised to be her daughter's most faithful correspondent. The two women exchanged more than two hundred letters that reflected their lively interest in literature, theology, and politics, and explored ideas about identity, belonging, and home in the context of cross-cultural challenges. Two decades later, with Geeske increasingly beset by Alzheimer's disease, Kathleen returned to the letters, where she rediscovered the evocative image of a tiny, bright meadow bird perched precariously on a blade of elephant grass. That image of simultaneous tension, fragility, power, and resilience sustained her over the years that she used the letters as memory prompts in a larger strategy to keep her intellectually gifted mother alive. Deftly woven of excerpts from their correspondence, conversations, journal entries, and email updates, Bird-Bent Grass is a complex and moving exploration of memory, illness, and immigration; friendship, conflict, resilience, and forgiveness; cross-cultural communication, the ethics of international development, and letter-writing as a technology of intimacy. Throughout, it reflects on the imperative and fleeting business of being alive and loving others while they're ours to hold.

Over the last forty years, Canadian adventurer, writer, and artist Allen Smutylo has experienced some of the wildest and most captivating waters imaginable in all corners of the globe. The stories in The Memory of Water all of them accompanied by the authors own stunning artworkdescribe his adventures in the Arctic, South Pacific, Great Lakes region, and India. In the Arctic he is attacked by a polar bear, stalked by a rogue walrus, and nearly drowns in ferocious waters. But his Arctic stories also celebrate human creativity as they recount the life of the pre-Inuit people, who, hunting in a changing environment, endured many hardships and developed new technologies, such as the sea kayak, to cope. Other stories include an account of a sojourn in a small Georgian Bay fishing village as a young artist, an adventure on an urban river in southwestern Ontario, and a portrayal of the complex underwater world of the South Pacific. Travelling the River Ganges in India, the author finds that a massive misuse of water is complicated by a billion peoples faith-based adoration of the same water. The Memory of Water probes a crucial and contemporary issuethat of our relationship to water and the wildlife and human life that depends upon it. This book will appeal to anyone interested in the natural world, in artistic depictions of it, or in a good story well told.

When poet and essayist Kenneth Sherman was diagnosed with cancer, he began keeping a notebook of observations that blossomed into this powerful memoir. With incisive and evocative language, Sherman presents a clear-eyed view of what the cancer patient feels and thinks. His narrative voice is personal but not confessional, practical but not cold, thoughtful and searching but not self-pitying or self-absorbed. The authors wait time for surgery on a malignant tumour was exceptionally long and riddled with bureaucratic bumbling; thus he asks our health-care providers and administrators if our system cannot be made efficient and more humane. While he is honest about what is good and bad in our system, he is not stridently political or given to directing blame. His narrative is interwoven with engaging ruminations on the meaning of illness in society, and is peppered with references to other writers thoughts on the subject. A widely published poet, Sherman helps the reader understand the deep connection between disease and creativitythe ways in which we write out of our suffering. Wait Time will be of special interest to anyone facing a serious illness as well as to health-care providers, social workers, and psychologists working in the field. Its thoughtful observations on health, life priorities, time, and mortality will make it of interest to all readers.

Chronicles life stories of growing up in Jamaica from 1943 to 1965 and contains both personal experience and history, told with stridency and humour. The author's coming of age parallels the political stages of Jamaica's moving from the richest Crown colony of Great Britain to an independent nation.

My Basilian Priesthood is a memoir of Michael Quealey's six years in the order in the 1960s. During his priesthood, Quealey was director of the Newman Centre at the University of Toronto and engaged in reforming the mass and in other theological matters. The 1960s was a time of questioning traditions, including the role of Biblical criticism, the nature of liturgy, the place of women in the Church and in society, and the power of community living and decision-making. Quealey was deeply involved in all these matters, and sought to fulfill his commitment to service and balance that with his faith and vows of obedience to the institution of the Church. Written decades after the events he describes, the book is his reflection on the excitement of the times and the tensions created when tradition encountered new ideas and new forms of communal living. Here's a story that blends Toronto history with Catholic Church history and an inside look at 1960s counterculture.

This volume is the first to approach Tibetan life writing from a literary and narratological perspective, encompassing a wide range of disciplines, themes, media, and historical periods, and thus opening new and vibrant areas of research to future scholarship across the Humanities.

This edited collection considers the ways older women's life narratives redefine culturally imposed conceptions of what it means to grow older.

This volume applies the insight and methods of career construction theory to explore how autobiographical writing is used in different professional careers, from fiction and journalism to education and medicine.

Motherlode: A Mosaic of Dutch Wartime Experience is Carolyne Van Der Meer's creative reinterpretation through short stories, poems, and essays of the experiences of her mother and other individuals who either spent their childhoods in Nazi-occupied Holland or were deeply affected by wartime in Holland. The book documents the author's personal journey as she uncovers her mother's past through their correspondence and discussion and through research in the Netherlands. Motherlode also considers mother-daughter relationships and the effect of wartime on motherhood. Motherlode is not about recording precise historical data; rather, it attempts to recover and interpret the complex emotions of the individuals growing up in wartime. The book is based on interviews with the author's mother and other Dutch Canadians, interviews with and letters from Canadian Jewish war veterans, and information provided by individuals with direct or indirect experience of the Dutch Resistance. The creative pieces explore onderduik (going into/being in hiding), life in an occupied country, the work of the Dutch Resistance, liberation, collective and individual cultural memory, and the way in which wartime childhoods shaped adulthood for these individuals.