By Nancy K. Miller
In her most modern paintings of non-public feedback, Nancy ok. Miller tells the tale of ways a woman who grew up within the Fifties and received misplaced within the Nineteen Sixties grew to become a feminist critic within the Seventies. As in her earlier books, Miller interweaves items of her autobiography with the memoirs of contemporaries so as to discover the unforeseen ways in which the tales of alternative people's lives provide desiring to our personal. The evolution she chronicles used to be lived through a iteration of literary ladies who got here of age in the middle of profound social switch and, buoyed by way of the strength of second-wave feminism, turned writers, teachers, and activists. Miller's memories shape one woman's installment in a collective memoir that remains unfolding, an intimate web page of a bunch portrait in procedure.
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Additional info for But enough about me: why we read other people's lives
It is and it isn’t. The path of identification provides one of the major byways along which interactive remembering moves. You follow the threads that take you back, even if then there was no story, just the loose threads you see now woven into a readable fabric, material for another story: your own. Of course I’ve stacked the deck here by what do you think of my memoir? taking examples from the old neighborhood; it would have been more surprising had I found no connections to someone who went to the same schools I did, hung out in the same bars, crossed the same streets.
In fact, the question from the memoir with which I began is directed to the readers with whom the writer shares an ethnic legacy: “Chinese-Americans,” she asks, “when you try to understand what things in you are Chinese,” how do you know how you became who you are, what’s you and what’s the movies? Yet that difference in no way prevents them from taking an intense pleasure in the pages of this book. So what happens when beyond even disidentification there seem to be no commonalities between your life as a reader and the writer’s, when it’s another zeitgeist entirely?
The girl with dreams to be on stage herself and the lawyer who rides a motorcycle are sitting in their café not far from the place where the movie version of the novel—starring Natalie Wood and Gene Kelly—had been filmed. What’s your life and what’s the movies? Sitting at Rienzi’s, a popular coffee house in the Village, Hettie Jones is troubled by the prediction. ” (). A close friend of Hettie from their days of shared struggle in the Village, Joyce reflects on the anecdote in her own memoir: “Ambitious young men of the fifties,” she observes,“often evoked the wayward Jewish princess of .