Borderlines: Autobiography and Fiction in Postmodern Life by Gunnthórunn Gudmundsdóttir

By Gunnthórunn Gudmundsdóttir

Borderlines. Autobiography and Fiction in Postmodern Writing locates and investigates the borderlines among autobiography and fiction in several types of life-writing courting from the final thirty years. This quantity bargains a worthy comparative method of texts by means of French, English, American, and German authors to demonstrate the several varieties of experimentation with the borders among genres and literary modes. Gudmundsd?ttir tackles very important modern issues similar to autobiography’s courting to postmodernism by way of investigating topics corresponding to reminiscence and crossing cultural divides, using pictures in autobiography and the position of narrative in life-writing. This paintings is of curiosity to scholars and students of comparative literature, postmodernism and modern life-writing.

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75. 50 Borderlines comments on this change in attitude in a footnote about her stay in Moscow: This was the word [easiest winter of the war] in 1944. In 1966, three Muscovites told me it had been that hardest winter of the war. I think this conflict of memory came about because in 1944 they knew they were on the way to victory and an end. In 1966 they remember only the deprivation and the misery. (An Unfinished Woman, p. 148) It is clear from all this that people's attitudes and perceptions of the past are very much formed by changing perceptions in society, by whether they have lost or gained something, by the political climate and, of course, personal experiences.

It illustrates the problems autobiographers face in representing the past. And it echoes Hellman's statement that 'the tales of former children are seldom to be trusted', but also reminds us that we have little else to lean on. 4. ' 'You're responsible to it. You're answerable. You're required to try to make sense of it. '41 Remembering is not only a personal matter necessary for our sense of identity and mental well-being, it is also a very public matter, formed by social situations and often politically contentious.

But looking for patterns and correlations in his life is still an important activity for him, it is his way of making sense of the past, and, of course, all these patterns he charts accumulate and become meaningful, even though they never achieve the status of a symbol. As he explains, the meaning of a life can never be as neatly deposited as a life of a character in a novel: people do sometimes try to understand their lives in terms of historical conditions, it does not have the same effect [as in a novel].

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