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The ''Early Life', Autobiography' and 'Deliverance' of 'Mark Rutherford' are a fictionalized autobiography (in three parts) by the Victorian civil servant and writer W. H. White. White wrote to help people with personalities like his own -- self-educated intellectuals, lonely, oversensitive, depressive, and with poor self-esteem. Fortunately, he never descends into self-pity or sermonizing. His writing has long been admired for its extraordinary precision, poignancy and economy. This makes him one of the best of the late Victorian novelists, and a writer who rewards repeated re-reading.
The story of Genesis is the rock legend of how a humble schoolboy band grew into a group of global superstars. At its center stood Mike Rutherford, driving the music from pioneering prog rock to chart-topping hits. Now for the first time, he tells the remarkable inside story of Genesis and his own band, Mike + The Mechanics. Against the rhythm of drink, drugs, and lineup changes, Mike's father, a World War II naval officer, always stood in the background. He would watch Genesis grow, supporting them from the very beginning when they toured Britain in the back of a bread van. Through extreme highs and lows, loyal Captain Rutherford was always there, earplugs at the ready. But when his father suddenly died, Mike was forced to reexamine their relationship and only then began to understand how much their lives had overlapped. The Living Years is a revealing memoir of the relationship between father and son and the story of how music, families, and friendship combine.
Reproduction of the original: The Autobiography of Mark Rutherford by Hale White
I am aware that, once my pen intervenes, I can make whatever I like out of what I was.' Paul Valéry, Moi. Modernism is often characterized as a movement of impersonality; a rejection of auto/biography. But most of the major works of European modernism and postmodernism engage in very profound and central ways with questions about life-writing. Max Saunders explores the ways in which modern writers from the 1870s to the 1930s experimented with forms of life-writing - biography, autobiography, memoir, diary, journal - increasingly for the purposes of fiction. He identifies a wave of new hybrid forms from the late nineteenth century and uses the term 'autobiografiction' - discovered in a surprisingly early essay of 1906 - to provide a fresh perspective on turn-of-the-century literature, and to propose a radically new literary history of Modernism. Saunders offers a taxonomy of the extraordinary variety of experiments with life-writing, demonstrating how they arose in the nineteenth century as the pressures of secularization and psychological theory disturbed the categories of biography and autobiography, in works by authors such as Pater, Ruskin, Proust, 'Mark Rutherford', George Gissing, and A. C. Benson. He goes on to look at writers experimenting further with autobiografiction as Impressionism turns into Modernism, juxtaposing detailed and vivacious readings of key Modernist texts by Joyce, Stein, Pound, and Woolf, with explorations of the work of other authors - including H. G. Wells, Henry James, Joseph Conrad, Ford Madox Ford, and Wyndham Lewis - whose experiments with life-writing forms are no less striking. The book concludes with a consideration of the afterlife of these fascinating experiments in the postmodern literature of Nabokov, Lessing, and Byatt. Self Impression sheds light on a number of significant but under-theorized issues; the meanings of 'autobiographical', the generic implications of literary autobiography, and the intriguing relation between autobiography and fiction in the period.
Born to a pious non-conformist home in the Midlands, Mark Rutherford trains for dissenting church ministry almost by default. Although outwardly not an especially devout young man, he nonetheless has depths to his spirit which lead him to seek meaning in his beliefs. As he settles into his first pastorate, Rutherford discovers that the substance of his creed is too faint to support his public ministry. As he reaches this crisis of faith, so too he reaches a point of crisis in personal relationships. The Autobiography is the first novel by Mark Rutherford, the pen name of William Hale White. Beyond the pseudonym, the novel’s “editor,” Reuben Shapcott, who ostensibly contributes the preface as well as the concluding paragraphs, is a figment of White’s imagination. Even after White’s identity as the real author of the novel was uncovered, readers continued to wonder just what the relationship was between author and character, as the boundary between them is difficult to discern. How much this work of “autobiography” is actually fiction remains an open question. By 1908 the Autobiography was being used as the leading example of what one essayist termed “autobiografiction,” or the blending of autobiography and fiction—an apt category for this story, in which so much of White’s real life is infused. As for the novel’s legacy, White’s contemporary, William Dean Howells, was deeply impressed by the novel, although he was also baffled by it. “We hardly know … whether to call [it] fiction,” he wrote in Harper’s Magazine, at a time when the true identity of the author was as yet unknown. Howells’s sense that “readers who can think and feel” would find themselves “deeply stirred by it” remains true well over a century later. This book is part of the Standard Ebooks project, which produces free public domain ebooks.