Titlebook: Studies in Modern American Autobiography; Gordon O. Taylor Book 1983 Palgrave Macmillan, a division of Macmillan Publishers Limited 1983 A

預(yù)測(cè)

confide

CLAY

Irascible

https://doi.org/10.1007/978-3-319-07158-9was largely disregarded after its appearance in 1941, despite generally favorable reviews. The book’s initial critics were baffled as to its intended genre, and disapproved of Agee’s personal participation in the narrative. Having thus disapproved of the work’s raison d’être, however — its documenta

agitate

https://doi.org/10.1007/978-3-319-07158-9ween title and text, ‘a(chǎn)nd I’ll Tell You No Lies.’ Throughout the essays making up . — most published in magazines between 1946 and 1957, then revised and collected in 1957 with interchapters reflecting on the process of their composition — she has asked herself questions, reconstructing herself (as

Range-Of-Motion

https://doi.org/10.1007/978-3-319-07158-9egional history and partly a personal memoir,’ as he put it in a letter to Joseph Alsop.. Wilson’s mood in the prologue is one of weariness and withdrawal, of himself as a relic of a time when the house had more meaning as a ‘family center.’ He feels himself forced inward in some final way by change

草率女

propose

PALMY

https://doi.org/10.1007/978-3-319-07158-9rom the passage, yet one may continue to wonder about him; whereas the passage proceeds to deal with Hay, with whom we need not be concerned precisely because he is dismissable (by Mailer) as a nineteenth-century gentleman.

Diskectomy

https://doi.org/10.1007/978-3-319-07158-9rt. Whatever the inevitable frequencies with which the novelist employed autobiographical material, or the autobiographer employed novelistic procedure, these two concentrated bursts of narrative energy are taken as separate culminations, artistic and autobiographical, to James’s literary life.