Our lives are increasingly on display in public, but the ethical issues involved in presenting such revelations remain largely unexamined. How can life writing do good, and how can it cause harm? The eleven essays here explore such questions.

"My primary concern is with the ethics of representing vulnerable subjects—persons who are liable to exposure by someone with whom they are involved in an intimate or trust-based relationship, unable to represent themselves in writing, or unable to offer meaningful consent to their representation by someone else.... Of primary importance is intimate life writing—that done within families or couples, close relationships, or quasi-professional relationships that involve trust—rather than conventional biography, which can be written by a stranger. The closer the relationship between writer and subject, the greater the vulnerability or dependency of the subject, the higher the ethical stakes, and the more urgent the need for ethical scrutiny."—from the Preface Vulnerable Subjects explores a range of life-writing scenarios-from the "celebrity" to the "ethnographic"—and a number of life-writing genres from parental memoir to literary case studies by Oliver Sacks. G. Thomas Couser addresses complex contemporary issues; he investigates the role of disability in narratives of euthanasia and explores the implications of the Human Genome Project for life-writing practices in any age when many regard DNA as a code that "scripts" lives and shapes identity. Throughout, his book is concerned with the ethical implications of the political and economic, as well as the mimetic, aspects of life writing.

Why do we endlessly tell the stories of our lives? And why do others pay attention when we do? The essays collected here address these questions, focusing on three different but interrelated dimensions of life writing. The first section, "Narrative," argues that narrative is not only a literary form but also a social and cultural practice, and finally a mode of cognition and an expression of our most basic physiology. The next section, "Life Writing: Historical Forms," makes the case for the historical value of the subjectivity recorded in ego-documents. The essays in the final section, "Autobiography Now," identify primary motives for engaging in self-narration in an age characterized by digital media and quantum cosmology.

Many declare the debate about abortion to be hopelessly polarised, between conservatives and liberals, between forces religious and secular. In this book Mumford upends this received wisdom and challenges consensus, arguing that many dominant attitudes and argument fail to take into account the particular way human beings 'emerge' in the world.

Life writing, in its various forms, does work that other forms of expression do not; it bears on the world in a way distinct from imaginative genres like fiction, drama, and poetry; it acts in and on history in significant ways. Memoirs of illness and disability often seek to depathologize the conditions that they recount. Memoirs of parents by their children extend or alter relations forged initially face to face in the home. At a time when memoir and other forms of life writing are being produced and consumed in unprecedented numbers, this book reminds readers that memoir is not mainly a "literary" genre or mere entertainment. Similarly, letters are not merely epiphenomena of our "real lives." Correspondence does not just serve to communicate; it enacts and sustains human relationships. Memoir matters, and there’s life in letters. All life writing arises of our daily lives and has distinctive impacts on them and the culture in which we live.

Offering a new reading of Spinoza's masterpiece, Smith asserts that the 'Ethics' is a celebration of human freedom and its attendant joys and responsibilities and should be placed among the great founding documents of the Enlightenment.

In a reassessment of the meaning of life and death, a noted philosopher offers a new definition for life that contrasts a world dependent on biological maintenance with one controlled by state-of-the-art medical technology.

The popularity of such books as Frank McCourt's Angela's Ashes, Mary Karr's The Liars' Club, and Kathryn Harrison's controversial The Kiss, has led columnists to call ours "the age of memoir." And while some critics have derided the explosion of memoir as exhibitionistic and self-aggrandizing, literary theorists are now beginning to look seriously at this profusion of autobiographical literature. Informed by literary, scientific, and experiential concerns, How Our Lives Become Stories enhances knowledge of the complex forces that shape identity, and confronts the equally complex problems that arise when we write about who we think we are. Using life writings as examples—including works by Christa Wolf, Art Spiegelman, Oliver Sacks, Henry Louis Gates, Melanie Thernstrom, and Philip Roth—Paul John Eakin draws on the latest research in neurology, cognitive science, memory studies, developmental psychology, and related fields to rethink the very nature of self-representation. After showing how the experience of living in one's body shapes one's identity, he explores relational and narrative modes of being, emphasizing social sources of identity, and demonstrating that the self and the story of the self are constantly evolving in relation to others. Eakin concludes by engaging the ethical issues raised by the conflict between the authorial impulse to life writing and a traditional, privacy-based ethics that such writings often violate.

A Publishers Weekly Top Ten Best Book of the Year An Amazon.com Top Ten Best Book of 2009 A Washington Post Book World’s Ten Best Book of the Year A California Literary Review Best Book of 2009 An L.A. Times Top 25 Non-Fiction Book of 2009 An NPR Best Book of the Year, Best Memoir With this stunning graphic memoir, David Small takes readers on an unforgettable journey into the dark heart of his tumultuous childhood in 1950s Detroit, in a coming-of-age tale like no other. At the age of fourteen, David awoke from a supposedly harmless operation to discover his throat had been slashed and one of his vocal chords removed, leaving him a virtual mute. No one had told him that he had cancer and was expected to die. The resulting silence was in keeping with the atmosphere of secrecy and repressed frustration that pervaded the Small household and revealed itself in the slamming of cupboard doors, the thumping of a punching bag, the beating of a drum. Believing that they were doing their best, David’s parents did just the reverse. David’s mother held the family emotionally hostage with her furious withdrawals, even as she kept her emotions hidden — including from herself. His father, rarely present, was a radiologist, and although David grew up looking at X-rays and drawing on X-ray paper, it would be years before he discovered the shocking consequences of his father’s faith in science. A work of great bravery and humanity, Stitches is a gripping and ultimately redemptive story of a man’s struggle to understand the past and reclaim his voice.

"A compact yet thorough collection of readings in ethical theory and contemporary moral problems - at the best price"--