"In a book that will change the ways we think about autobiography and criticism, Nancy K. Miller produces poignant revelations about what it means to live with a dying parent--as a son or daughter, as well as the difference that gender makes in such a painful situation. In Bequest and Betrayal, she develops an original feminist perspective by counterpointing lyrical introspection about her own grief with critical insights into memoirs by Simone de Beauvoir, Philip Roth, Art Spiegelman, Susan Cheever, Carolyn Steedman, and Annie Ernaux." --Sandra M. Gilbert and Susan Gubar, co-authors of The Madwoman in the Attic, No Man's Land, and The Norton Anthology of Literature by Women "Miller's use of the memoir form offers a new model of serious criticism, and a way of imagining community through 'bonds of paper' as well as 'bonds of blood.'" --Elaine Showalter, London Review of Books Melding the details of her own experience with the familial biographies of well-known contemporary writers, Miller recreates a common experience--the loss of a father or a mother--and exposes the often tortuous paths of mourning and attachment that we follow in the wake of loss. In the process, she offers pieces of personal history, revealing the mixed emotions provoked by her mother's sudden death from cancer and her father's painful struggle with Parkinson's disease. Memoirs about the loss of parents show how enmeshed in the family plot we have been and the price of our complicity in its stories. The death of parents forces us to rethink our lives, to reread ourselves. We read for what we need to find. Sometimes, we also find what we didn't know we needed.

How did the academy react to the rise, dominance, and ultimate fall of Germany's Third Reich? Did German professors of the humanities have to tell themselves lies about their regime's activities or its victims to sleep at night? Did they endorse the regime? Or did they look the other way, whether out of deliberate denial or out of fear for their own personal safety? The Betrayal of the Humanities: The University during the Third Reich is a collection of groundbreaking essays that shed light on this previously overlooked piece of history. The Betrayal of the Humanities accepts the regrettable news that academics and intellectuals in Nazi Germany betrayed the humanities, and explores what went wrong, what occurred at the universities, and what happened to the major disciplines of the humanities under National Socialism. The Betrayal of the Humanities details not only how individual scholars, particular departments, and even entire universities collaborated with the Nazi regime but also examines the legacy of this era on higher education in Germany. In particular, it looks at the peculiar position of many German scholars in the post-war world having to defend their own work, or the work of their mentors, while simultaneously not appearing to accept Nazism.

Book One of The Guardians Series Finalist, 2016 Daphne Du Maurier Award for Excellence in Mystery/Suspense Cheyenne Elias has inherited a child. A boy she doesn’t know and doesn’t particularly want; a boy whose mother was once Cheyenne’s most hated person in the world. There are a million reasons to walk away: her anger, her past, her certainty that there is nothing benevolent in this act by a woman who almost killed her. But abandoning the boy to a system she barely survived is not an option. Will Blackheart has lost everything. His SEAL team, his country, and—upon occasion—his mind. Worse, he’s lost something that has the capacity to kill thousands. Left for dead in the Afghan desert, Will has risen solely to regain that which was taken...and to punish those who dared take it. His only lead is the son of a dead woman. Her only goal is to save a child. As they come together in a clash of anger, mistrust, and potent, unwanted desire, Will and Cheyenne must put aside their differences and navigate the endgame of a woman for whom nothing was taboo… Don’t miss the first installment of this intense, suspenseful romance series. Keywords related to this romantic suspense series: Romantic suspense series, romance series mystery, romantic thriller, romantic thriller series, romantic suspense anthology, romantic suspense, mystery romance series, mystery romance, FBI romance, FBI romantic suspense thrillers, military romance, first love romance, found family romance, lost love romance, alpha male romance, action adventure romance, romantic suspense box set, romance box set, serial killer romance, law enforcement romance, contemporary romance, contemporary romantic suspense, contemporary romantic thriller, popular romantic suspense, popular romance, new romance, new romantic suspense.

Even before the controversy that surrounded the publication of A Million Little Pieces, the question of truth has been at the heart of memoir. From Elie Wiesel to Benjamin Wilkomirski to David Sedaris, the veracity of writers’ claims has been suspect. In this fascinating and timely collection of essays, leading writers meditate on the subject of truth in literary nonfiction. As David Lazar writes in his introduction, “How do we verify? Do we care to? (Do we dare to eat the apple of knowledge and say it’s true? Or is it a peach?) Do we choose to? Is it a subcategory of faith? How do you respond when someone says, ‘This is really true’? Why do they choose to say it then?” The past and the truth are slippery things, and the art of nonfiction writing requires the writer to shape as well as explore. In personal essays, meditations on the nature of memory, considerations of the genres of memoir, prose poetry, essay, fiction, and film, the contributors to this provocative collection attempt to find answers to the question of what truth in nonfiction means. Contributors: John D’Agata, Mark Doty, Su Friedrich, Joanna Frueh, Ray González, Vivian Gornick, Barbara Hammer, Kathryn Harrison, Marianne Hirsch, Wayne Koestenbaum, Leonard Kriegel, David Lazar, Alphonso Lingis, Paul Lisicky, Nancy Mairs, Nancy K. Miller, Judith Ortiz Cofer, Phyllis Rose, Oliver Sacks, David Shields, and Leo Spitzer

This volume of eight essays written by French scholars analyzes Daniel Mendelsohn's first three volumes of nonfiction (The Elusive Embrace, 1999; The Lost, 2006; and An Odyssey, 2017) and includes an illustrated interview (2019) in which Mendelsohn tackles various aspects of his work as a literary and cultural critic, as a professor of classical literature, as a translator, and as a memoirist. The essay discussing The Elusive Embrace (1999) argues that, in addition to offering a subtle reflection on sexual identity and genres, Mendelsohn’s first volume already broadens his topic and patiently weaves links between ancient and present times, feeding his meditation with his knowledge of Greek culture and myths—a natural movement of back and forth which would become his signature. The Lost (2006), his much-acclaimed investigation on six members of his family who died during the period known as the Holocaust by bullets, is analyzed as a close-up on the disappearance of a whole world, the unspeakability of which Mendelsohn addressed through intertwining several languages, linguistic echoes, and biblical references. Finally, Mendelsohn’s recent An Odyssey (2017) is studied as a brilliant musing on teaching Homer’s masterpiece while building up a memoir on his declining father sitting among his students and allowing Homer’s universal questions and lessons to enlighten a father and son’s last journey.

These days one can hardly say anything about art without confronting the freighted status of the photograph. Many critics have written about the idea of photography by other means or art after photography. And many famous artistsamong them Gerhard Richter, Gillian Wearing and Thomas Struth--have stretched the idea of the truth-value of the photograph by claiming to make actual photographs in other materials, such as paint or video. Saltzman is interested in how photography has functioned to secure identity in the modern period and the implications of that history for us today. While Saltzman s purpose is to look at contemporary adaptations of photography, the story she tells begins even earlier than the invention of the photograph. It starts with the story of Martin Guerre (nee Daguerre) and the idea of what the image may have held as a guarantor of identity in the early modern period. In this way Saltzman establishes a broad, deep historical frame before delving into the art of the present. Each chapter covers a different medium ranging from video, graphic novels, and literature to film. Along the way, she takes on figures of unstable identity fugitive subjects to wit, the mysterious Martin Guerre, Blade Runners, replicants, Henriette Barthes, and W.G. Sebald s characters. She also confronts a range of contemporary critics, artists, and knotty debates about veracity, uncertainty and identity that began to circulate in the nineteenth century with the invention of photography."

In Archaeologies of an Uncertain Future, McPherson explores the memory work, alternative historiographies, and feminist aesthetics by which women writers revisit the past and reimagine the future. Grounded within critical discourses across many discplines, McPherson's analysis engages contemporary discussions about autobiographical genres, post-modern historiographies, memoirs, and literary genealogies.

Life writing often explores the profound impact of border crossings, both physical and metaphorical. Writers navigate personal and cultural boundaries, reflecting on identity, belonging, and the transformative power of crossing thresholds. These narratives unveil the complexities of migration, immigration, or internal journeys, offering intimate perspectives on adapting to new environments or confronting internal conflicts. Un/Bound is a collection of essays about such narratives, with an emphasis on mobility and border metaphors, the ethical dimensions of cross-border storytelling, and questions of access, translation, and circulation. Scholarly interest in borders, mobility, and related topics has greatly intensified in the context of public health emergencies and recent conflicts in international relations. The chapters in this book contribute to this dialogue by exploring internal and external, and physical and abstract borders and divisions. This book will be of great interest to scholars and researchers of literature, translation studies and political philosophy. The chapters in this book were originally published as a special issue of a/b: Auto/Biography Studies.