Download Free Everybodys Autobiography Book in PDF and EPUB Free Download. You can read online Everybodys Autobiography and write the review.

“Alice B. Toklas wrote hers and now everybody will write theirs.” In 1933 Gertrude Stein’s The Autobiography of Alice B. Toklas skyrocketed to the top of the bestseller lists, and the author found herself a celebrity. Everybody’s Autobiography is the very Steinian account of her soul-satisfying next five years in France, England, and America, where she made a triumphant tour of the country. Here are Stein’s devastating analyses of some of the major figures of the day whom she met—among them Dashiell Hammett, Charlie Chaplin, Pablo Picasso, Marianne Moore, Mrs. Roosevelt, and Sherwood Anderson—and also of her own life and work.
In American Silence , a complement to his previous study Trickster in the Land of Dreams , Zeese Papanikolas investigates a number of significant American cultural artifacts and the lives of their makers. For Papanikolas, both the private failures and public successes of Clarence King, Henry Adams, Gertrude Stein, Ernest Hemingway, Raymond Chandler, and Hank Williams resonate with silences.
This volume offers sixteen original essays that attest to the extraordinary inventiveness and range of modernist autobiography. It examines the ways modernist writers chose to tell their life stories, with particular attention to forms, venues, modes of address, and degrees of truthfulness. The essays are grouped around a set of rubrics that isolate the distinctive character and shared preoccupations of modernist life-writings: questions of ancestry and tradition that foreground the modernists' troubled relation to their immediate familial as well as cultural past; their emergence as writers whose experiences found expression in untraditional and singular forms; their sense of themselves as survivors of personal and historical traumas; and their burdens as self-chroniclers of loss, especially of self-loss. It will appeal especially to scholars and students of literary modernism and English literature more generally.
The legendary creator of iconic television programs All in the Family, Sanford and Son, Maude, Good Times, The Jeffersons, and Mary Hartman, Mary Hartman, Norman Lear remade our television culture, while leading a life of unparalleled political, civic, and social involvement. Sharing the wealth of Lear's ninety years, this is a memoir as touching and remarkable as the life he has led.
"Astute and consistently surprising critic" (NPR) Olivia Laing investigates the body and its discontents through the great freedom movements of the twentieth century. The body is a source of pleasure and of pain, at once hopelessly vulnerable and radiant with power. In her ambitious, brilliant sixth book, Olivia Laing charts an electrifying course through the long struggle for bodily freedom, using the life of the renegade psychoanalyst Wilhelm Reich to explore gay rights and sexual liberation, feminism, and the civil rights movement. Drawing on her own experiences in protest and alternative medicine, and traveling from Weimar Berlin to the prisons of McCarthy-era America, Laing grapples with some of the most significant and complicated figures of the past century—among them Nina Simone, Christopher Isherwood, Andrea Dworkin, Sigmund Freud, Susan Sontag, and Malcolm X. Despite its many burdens, the body remains a source of power, even in an era as technologized and automated as our own. Arriving at a moment in which basic bodily rights are once again imperiled, Everybody is an investigation into the forces arranged against freedom and a celebration of how ordinary human bodies can resist oppression and reshape the world.
“Everything a really great music memoir should be.” —Colin Meloy The Pogues injected the fury of punk into Irish folk music and gave the world the troubled, iconic, darkly romantic songwriter Shane MacGowan. Here Comes Everybody is a memoir written by founding member and accordion player James Fearnley, drawn from his personal experiences and the series of journals and correspondence he kept throughout the band’s career. Fearnley describes the coalescence of a disparate collection of vagabonds living in the squats of London’s Kings Cross, with, at its center, the charismatic MacGowan and his idea of turning Irish traditional music on its head. With beauty, lyricism, and great candor, Fearnley tells the story of how the band watched helplessly as their singer descended into a dark and isolated world of drugs and drink, and sets forth the increasingly desperate measures they were forced to take. James Fearnley was born in 1954 in Worsley, Manchester. He played guitar in various bands, including The Nips with Shane MacGowan, before becoming the accordion player in The Pogues. Fearnley continues to tour with the band and lives in Los Angeles.
The first of Gertrude Stein's publications, this accessible 1909 volume was an experiemntal work for its time and established the author's reputation as a master of language and a voice for women. In three separate tales, Stein invests the lives of three working class women with extraordinary insights into race, sex, gender, and other feminist issues.
Gertrude Stein (1874-1946), a writer of experimental prose, is one of the original American Modernists. Born in Pennsylvania, she lived most of her life in Paris with her partner, Alice B. Toklas. Experimental books like Three Lives (1909), Tender Buttons (1914), and The Making of Americans (1925) established her reputation as an avant-garde stylist, and The Autobiography of Alice B. Toklas made her an international celebrity. As an experimental writer she has been an inspiration to countless novelists and poets in our century, from Ernest Hemingway and Edith Sitwell in her own time to Jack Kerouac and Robert Duncan in ours.
On August 21, 1978, a year before his seventieth birthday, Samuel Steward (1909–93) sat down at his typewriter in Berkeley, California, and began to compose a remarkable autobiography. No one but his closest friends knew the many different identities he had performed during his life: as Samuel Steward, he had been a popular university professor of English; as Phil Sparrow, an accomplished tattoo artist; as Ward Stames, John McAndrews, and Donald Bishop, a prolific essayist in the first European gay magazines; as Phil Andros, the author of a series of popular pornographic gay novels during the 1960s and 1970s. Steward had also moved in the circles of Gertrude Stein, Thornton Wilder, and Alfred Kinsey, among many other notable figures of the twentieth century. And, as a compulsive record keeper, he had maintained a meticulous card-file index throughout his life that documented his 4,500 sexual encounters with more than 800 men. The story of this life would undoubtedly have been a sensation if it had reached publication. But after finishing a 110,000-word draft in 1979, Steward lost interest in the project and subsequently published only a slim volume of selections from his manuscript. In The Lost Autobiography of Samuel Steward, Jeremy Mulderig has integrated Steward’s truncated published text with the text of the original manuscript to create the first extended version of Steward’s autobiography to appear in print—the first sensational, fascinating, and ultimately enlightening story of his many lives told in his own words. The product of a rigorous line-by-line comparison of these two sources and a thoughtful editing of their contents, Mulderig’s thoroughly annotated text is more complete and coherent than either source alone while also remaining faithful to Steward’s style and voice, to his engaging self-deprecation and his droll sense of humor. Compellingly readable and often unexpectedly funny, this newly discovered story of a gay life full of wildly improbable—but nonetheless true—events is destined to become a landmark queer autobiography from the twentieth century.
In The Limits of Autobiography, Leigh Gilmore analyzes texts that depict trauma by combining elements of autobiography, fiction, biography, history, and theory in ways that challenge the constraints of autobiography. Astute and compelling readings of works by Michel Foucault, Louis Althusser, Dorothy Allison, Mikal Gilmore, Jamaica Kincaid, and Jeanette Winterson explore how each poses the questions "How have I lived?" and "How will I live?" in relation to the social and psychic forms within which trauma emerges. First published in 2001, this new edition of one of the foundational texts in trauma studies includes a new preface by the author that assesses the gravitational pull between life writing and trauma in the twenty-first century, a tension that continues to produce innovative and artful means of confronting kinship, violence, and self-representation.