Editors’ Note iii–iv
James Olney (1933–2015)
John Eakin, “James Olney and the Study of Autobiography” 465–471
Cynthia Huff, “A Tribute to James Olney” 471–474
Sidonie Smith, “In Memoriam, James Olney” 474–475
Julia Watson, “Remembering James Olney” 475–478
David Parker (1944–2015)
Mary Besemeres, “Remembering David” 479–482
John Eakin, “David Parker and the Good of Life Writing” 482–484
Richard Freadman, “For David Parker” 484–486
Tim Dow Adams (1943–2014)
Craig Howes, “Remembering Tim Dow Adams” 487–490
Ingrid Horrocks, “ʻsomething else is going on, an interaction, an exchangeʻ: Martin Edmond’s Lives” 491–511
This article analyzes New Zealand-born essayist and biographer Martin Edmond’s evolving biographical practice, and argues that it is revealing because it both maintains the centrality of the first person singular so common to life writing, and works to stretch to its limits the very idea of what it is to be a person.
Ingrid Horrocks, “Martin Edmond: An Interview” 512–522
This conversation focuses on three of Edmond’s major works of biography, The Autobiography of my Father (1993), The Resurrection of Philip Clairmont(1999), and Dark Night: Walking with McCahon (2011), as well as his first book-length work of memoir, Chronicle of the Unsung (2004). The conversation moves in and out of discussions of auto/biography, comparing its workings to lyric, biopic, and feature films.
Kimberly Katz, “The ʻDual Era” in Hebron through the Diaries of Sami ‘Amr” 523–542
Sami Amr’s diary entries explore the continuity of his personal life in Hebron during the transitional period from World War II under the British Mandate to the 1948–1949 period when the war in Palestine was ending. Sami also tries to negotiate the new, but uncertain, political situation known as the “Dual Era” when both Jordan and Egypt claim rule over Hebron.
Kate J. Waites, “Sarah Polley’s Documemoir Stories We Tell: The Refracted Subject” 543–555
Sarah Polley’s documemoir Stories We Tell (2013) stretches the boundaries of the memoir genre while adding a meta-twist to the documentary film. It does so by documenting her personal journey to investigate her muddled parentage through the lens of artifacts and interviews with family members and friends, and by foregrounding the director and filmmaking process. With deft editing and a postmodern method of approaching her subject, the director balances multiple perspectives to arrive at an approximation of the “truth” concerning her deceased mother’s shadow life and its impact on her family, and more significantly, on Polley’s own refracted identity. By combining fictional elements with her self-reflexive filmmaking, Polley highlights the degree to which the self that is represented in, and produced by, the film is a dynamic, ongoing performance constructed in relationship to others.
Phyllis E. Wachter, “Annual Bibliography of Works about Life Writing, 2014–2015” 556–703
Storytelling and Science: Rewriting Oppenheimer in the Nuclear Age, by David Hecht; reviewed by Candida Rifkind 704–708
We Shall Bear Witness: Life Narratives and Human Rights, edited by Meg Jensen and Margaretta Jolly; reviewed by Bethany Ober Mannon 708–710
Outsider Biographies: Savage, de Sade, Wainewright, Ned Kelly, Billy the Kid, Rimbaud and Genet. Base Crime and High Art in Biography and Bio-Fiction, 1744–2000, by Ian H. Magedera; reviewed by Jane Darcy 711–71
Narcissism and Politics: Dreams of Glory, by Jerrold M. Post; reviewed by Eyal Zisser 713–717
Index to Volume 38: 2015 721–724