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This article centers on the life of the late Ottoman and early Turkish Republican bureaucrat Mustafa Reşat to investigate how he turned into a genocide technocrat. It examines his career and decisions at critical junctions and depicts him as an outstanding representative of a category of perpetrators who prepare the propitious infrastructure, ground, and climate for such large-scale violence as the Armenian Genocide. By shifting the perspective to the type, scale, and level of perpetrating violence, this paper sheds light on how Mustafa Reşat used his administrative and political knowledge and experience to serve Talat Pasha, who was already organizing the deportation and extermination of Armenians. Drawing upon hitherto unmined sources such as his memoirs, it demonstrates how an ultranationalist and dedicated Ottoman bureaucrat played a pivotal role in determining the main contours of the Turkish state’s mindset on the “Armenian and Kurdish Questions”. [ABSTRACT FROM AUTHOR]

Gendered order in the Soviet camp system shaped women inmates’ experiences of labour and factored in their survival. This article zooms in on the published memoirs of four women political prisoners who survived the Gulag and explores how they experienced and narrated carceral labour. It focuses on three types of labour taking place in the carceral setting – forced labour, care work and clandestine crafts – and investigates the gendered dynamics that surrounded each of these interrelated types of labour. Historically‐situated forms of women inmates’ constrained labour‐related agency, as the memoirs show, were diverse and not always limited to outright resistance or compliance. [ABSTRACT FROM AUTHOR]

In his memoir Born a Crime and Other Stories (2016), stand-up comedian Trevor Noah, draws on the thematic concerns of his stand-up performances, as he documents his experiences of racial passing in apartheid and then post-apartheid South Africa. Noah's reflections on these experiences of passing are integral to shaping his commentary on how racial identities are constructed and perceived. In this article, I will examine how Noah's racial passing narrative expands upon depictions of and commentaries on race presented within works of South African racial passing memoir writing. As I will demonstrate, Noah's use of elements of humour and imagination in constructing his childhood self's perceptions of the racialized world, positions his persona as one that contrasts that of the tragic mulatto as it is represented in other works of South African racial passing memoir writing. Through this contrast, I will suggest that Noah's memoir challenges the notion that one's identity is restricted and limited by systems of racial categorization by reflecting on how race can, in fact, be interpreted as a site of creative expression. [ABSTRACT FROM AUTHOR]

Life-writing by punks has grown at a remarkable rate and constitutes a significant new addition to the canon of punk cultural production that deserves an equal place alongside music, fashion, and zines. Punk has always sought to document itself in the form of recordings, film, photography, fanzines, and video. It is time to add memoirs to these archival impulses and examine how punk culture is now mediated and sustained by autobiography. Whereas punk life writing might be dismissed as so many nostalgic trips down memory lane, this article begins from the premise that writing about a life involves more than nostalgia. Considering punk memoirs as works that offer new ways of thinking about a life attached to punk, this article surveys a broad range of punk memoirs and asks questions that reframe some punk scholarship by emphasizing how individuals live within and outside of punk simultaneously. What are some of the dominant features of punk memoirs? What kinds of interventions do they make? How do they introduce and develop particular ways of documenting and thinking about punk culture and its legacies? How does life writing about the past transform punk in the present? What ways of thinking, lines of inquiry, understanding, and feelings do memoirs establish and examine as central to the thought of punk, in particular, and the study of culture more broadly? The article seeks to demonstrate how these trajectories might shift and renovate work undertaken by scholars of punk. [ABSTRACT FROM AUTHOR]

Issue 36.3 of the Journal of Popular Music Studies focuses on various conversations surrounding human/tech relations in popular music performance. The Field Notes section includes interviews with rock drummer Stan Lynch, DJ Ian Friday, Lauren Alex O'Hagan, and musician and mathematician Project.JDM, exploring the impact of technology on music and mental health during the COVID-19 pandemic. The peer-reviewed articles cover topics such as punk memoirs, the role of music journalism in categorizing "indie rap," the hardcore punk powerviolence scene in Southern California, and the wealth gap between Afrobeats artists Burna Boy and Tiwa Savage. The issue concludes with book reviews on Bob Dylan's The Philosophy of Modern Song, Shana Goldin-Perschbacher's Queer Country, Joshua Clover's Roadrunner, Francesca Royster's Black Country Music, and LJ Müller's Hearing Sexism. [Extracted from the article]

Geographers have regularly employed biography as a means to an end, that is, as a useful method for the investigation of some other phenomenon. But writing, reading, and collecting biographical memoirs has an inherent and not just an instrumental value. Linked to memory, biography becomes a way of recalling lives, including those not personally known to the reader, and remembering how one's own life and work is connected to those of predecessors and, by implication, those of successors. This article examines how biography can be used to foster an inclusive and diverse picture of the discipline which more fully appreciates the difficulties many geographers have overcome to pursue their geographical work, and the unnamed collaborators – colleagues, friends, and family – who supported them in their work. Portraiture is introduced as a complement to written memoir, as a subject which would bear further scrutiny. [ABSTRACT FROM AUTHOR]

What does it mean for a white historian to write a memoir about his mixed-race older brother? Examining the challenge of writing across the borders of race and history and drawing on the work of memoirists and historians who have written about their own family histories, this essay reflects on memory, guilt, and gratitude. [ABSTRACT FROM AUTHOR]

This article provides a profile of Pat Jordan, a former baseball player turned writer. It explores his baseball career, which fell short of expectations, and his subsequent success as a writer. The article also mentions his memoirs, particularly one that focuses on his relationship with renowned pitcher Tom Seaver. The author of the article meets with Pat Jordan to seek guidance on writing a biography and describes their meeting and Pat's home. The text details the author's experiences spending time with Pat and his wife Susie, including conversations about writing, Pat's novels, and the author's own writing project on Gene Locklear, a baseball player and artist. Pat offers feedback on the author's writing and encourages him to enhance his descriptions. The author reflects on his time with Pat and writes an article about him in Pat Jordan's distinctive style. [Extracted from the article]

This article provides a review of three biographies that examine the lives of women in different historical contexts. The first biography, "The Perfect Fascist" by Victoria de Grazia, delves into the life of Attilio Teruzzi, a devoted follower of Mussolini, and the significant roles that women played in his life. The second biography, "Empire's Mistress" by Vernadette Vicuña Gonzalez, tells the story of Isabel Rosario Cooper, an actress in the Philippines who was often overshadowed by her relationship with General Douglas MacArthur. The third biography, "Woman between Two Kingdoms" by Leslie Castro-Woodhouse, explores the life of Dara Rasami and her experiences as an outsider in Siam's royal court. These biographies offer valuable insights into the complex lives of these women and their interactions with larger historical events. Additionally, the article discusses two related books that further explore the lives of Isabel Rosario Cooper and Dara Rasani, providing intimate details through personal documents and photographs. These books will be of interest to scholars and students studying gender studies, Asian studies, and Thai history, as they shed light on the struggles for agency and independence faced by women in patriarchal societies. [Extracted from the article]

Shilpa Raj's memoir The Elephant Chaser's Daughter (2017) and Yashica Dutt's Coming Out as a Dalit: A Memoir (2019) map a specific kind of individual trauma, along with the cultural trauma that is found in other Dalit life writings. Both the narratives begin with the death of another Dalit individual whom the memoirists consider as a sibling/comrade who lacked the partial 'privilege' they enjoyed and the narratives can be read as negotiating this survivor's guilt. Hence, these life writings are part elegies and part literature of protest. They are also part of biographies, for while the writer's life story is one centre, these writings also have another centre – the real/imagined life of the dead person. As the writers compare and contrast their different destinies, we argue that these narratives (1) lay bare the complexities and limits of Dalit emancipation in modern India where the caste question has been seemingly resolved (2) call for an extension of the intersectional framework to analyse the concept of 'partial privilege' in Dalit life-writing. [ABSTRACT FROM AUTHOR]

Following Mary Wollstonecraft's death in 1798, her grieving husband William Godwin made public many of the details of Wollstonecraft's highly unconventional life. The ensuing backlash seemed to ensure that Wollstonecraft's major works ceased to be reprinted for a period of roughly forty years. This article contributes to efforts to revise narratives of Wollstonecraft's early nineteenth century reception by asking how and where readers, in the absence of new editions, might have accessed the books themselves. A survey of 41 circulating and subscription library catalogues dated between 1799 and 1842 reveals that, despite scholarly assumptions otherwise, Wollstonecraft's works remained widely available. Even when books left the library, they did not necessarily disappear, as a copy of Wollstonecraft's Vindication of the Rights of Woman that moved from a circulating library into a private collection attests. Placing the information in these catalogues in conversation with what can be gleaned from this copy of the work, this article argues that the durability of the hand-press book complicates the narrative of Wollstonecraft's posthumous reputation. [ABSTRACT FROM AUTHOR]

Oil evokes a range of emotions, from the promise of prosperity to the reality of environmental degradation and corporate greed. A growing number of graphic narratives (such as Gasoline Dreams) are exploring the 'cruel optimism,' to use Lauren Berlant's term, of oil. Crude: A Memoir is one such graphic narrative that through the memories of Pablo Fajardo exposes the intricate networks of extraction, the paraphernalia of the corporation-state nexus, and the contradictions of petromodernity through the use of visual storytelling techniques such as point of view, focalisation, and colour palette. This graphic narrative solicits an empathetic response from its readers by revealing the ethical and affective aspects of this environmental disaster. Drawing insights from energy humanities and comics studies, this article, through the close reading of Crude: A Memoir, investigates the toxicities of oil-modernity, the role of state infrastructure, and the global matrixes of power. Put together, Crude performs a kind of grassroot justice in that the memoir names the abusers who seem to be immune to justice, shows the plight of the Indigenous 'collateral damage' and the environmental degradation that result when legal protections are not afforded to those most vulnerable (including human, plant, animal, water, and mineral entities). [ABSTRACT FROM AUTHOR]

Political conflict has plagued Kashmir, a Muslim-majority region of Hindu-majority India, ever since the partition. The crisis worsened by the end of the 1980s and has continued to disrupt peace in the valley to date. The conflict arguably entered a new phase as the Hindu nationalist Bharatiya Janata Party (BJP) was elected to power in 2014, which also joined the ruling coalition of the Jammu and Kashmir state in 2015 for the first time. Over this period, Kashmir's resistance evolved into subtler forms, including cultural expressions like memoirs. Published in 2021, Farah Bashir's debut work, Rumours of Spring, is a deeply personal yet undeniably political exploration of the crisis in Kashmir from its aggravated phase in the beginning of the 1990s. This paper argues that the nuanced depiction of the crisis in the memoir demands an intersectional reading of the traumatising impact of militarisation and militarism on Kashmir's everyday life, especially given the subject position of the narrator as a Muslim woman. The works on militarisation by Jacklyn Cock, as employed by Samreen Mushtaq to analyse the situation in Kashmir, provide theoretical insights for this reading. Set in Kashmir's identitarian conflict, the Muslim identity is central to the narrative. We argue that in Bashir's memoir, religion finds a complex representation, with the Qur'an and Kashmiri folklore serving as respites in times of crisis, even as the fundamentalist factions contribute to their oppressive reality. Bashir's work openly engages with the experience of being a Muslim in Hindu India. The paper also attempts to place the work in a larger corpus of life-writing by women in conflict zones, comparing the work with Sharon and My Mother-in-Law: Ramallah Diaries (2003), a Palestinian memoir by Suad Amiry. [ABSTRACT FROM AUTHOR]

In 2006 Ian McEwan was accused of plagiarizing sections of his 2001 novel Atonement from Lucille Andrews’ memoir No Time for Romance. This article explores how McEwan develops defenses against this charge in two later works of fiction Solar (2010) and My Purple Scented Novel (2016). Relying on his readers’ recognition of the intertextual nature of these texts McEwan metafictionally indicates that his literary refashioning of aspects of Andrews’ factual memoir absolves him of the charge of plagiarism. In so doing he also invites his readers to compare his putative plagiarism with the admitted literary transgressions of Jacob Epstein and Martin Amis. Assessing these defenses leads both to a discussion of the literary value of historical accuracy and to recognition of the roles that privelege and power play in discussions of plagiarism, whether literary or academic. [ABSTRACT FROM AUTHOR]

This review essay discusses two books on the study of music and meaning in everyday life. The first book, "Electronic Dance Music: From Deviant Subculture to Culture Industry," explores the evolution of electronic dance music from an underground subculture to a mainstream industry. The second book, "Music in the Course of Life," examines the significance of music for individuals throughout their lives. Both books provide ethnographic insights into the social processes and cultural contexts surrounding music. The review highlights the different objectives, organization, and presentation styles of the two books, categorizing one as more analytic and the other as more evocative. It also discusses the strengths and weaknesses of each book's approach and provides examples of the comparative insights they offer. However, the review notes that the analysis in the first book may overlook certain concepts and lacks depth in exploring them. Additionally, the review suggests that the first book portrays the changes in the electronic dance music scene and culture as negative, emphasizing tensions between older subcultural participants and younger, more conventional audiences. The review also points out that the first book's focus on authenticity may overlook the experiences of diverse ethnic and sexual identities within the scene. The text discusses a book called "Music and the Life Course" by Joseph A. Kotarba, which explores the relationship between music and selfhood. The book takes an existential sociology approach and examines how music impacts people's lives at different stages, from childhood to old age. However, the reviewer notes that the book focuses primarily on [Extracted from the article]

This short review explores the physics journey of Professor Amit Dutta, illuminating his collaborative contributions with students and peers. We mainly focus on standard approaches to understanding non-equilibrium quantum dynamics and ground-state criticality using quantum informatic measures like ground-state fidelity, the Loschmidt echo and/or the decoherence factor. Using Floquet theory as a tool, we also discuss the dynamics of hard-core bosonic chain, shedding light on the phenomenon of dynamical localization and different analytically approachable limits of Floquet theory. The review further extends to probe the physics of topological phase transitions in driven/quenched systems, where we mainly focus on the non-equilibrium response of topological systems and topological state preparation. Finally, we also discuss late-time quantum dynamics leading to the thermalization of open and closed systems, where we review contemporary approaches to the applicability of thermodynamic principles in microscopic quantum systems and the macroscopic emergence of statistical mechanics in driven/quenched ergodic systems. Throughout this memoir, Professor Amit Dutta's important scientific contributions are mentioned for their impact on advancing our understanding of quantum dynamics and statistical mechanics. [ABSTRACT FROM AUTHOR]

Early Soviet society featured clear nutrition guidelines and a robust plan for streamlined logistics in food processing, distribution, and consumption, all of which was aimed at building a stronger state through a virtuous transformation of calories into labor power. Such rhetoric appeared even in children's illustrated books, such as Vladimir Maiakovskii and Nikolai Kupreianov's Story of Petia, Fat Boy, and of Sima, Who is Skinny (1926). This paper shows how in the 1920s authors such as Viktor Shklovskii and Iurii Olesha turned that rhetoric on its head and pushed back against the early Soviet obsession with planning and mastering nature and the human body by employing metaphors of food, digestion, and agriculture. In Shklovskii's memoirs A Sentimental Journey (1923) and Knight's Move (1923) and Olesha's novel Envy (1927), the October Revolution itself emerges as a metabolic process on a vast scale: prerevolutionary aesthetic threads, motifs, and concepts are broken down and processed, reassembled, and repurposed into a seemingly new society and worldview, in which the individual original components are still recognizable. [ABSTRACT FROM AUTHOR]

This article is a personal memoir of Salvador Bacarisse, a Spanish scholar and academic. Born in Madrid in 1923, Bacarisse and his family fled to France during the Spanish Civil War. After serving in the Spanish army, he moved to London and eventually became a lecturer at the University of St Andrews. Bacarisse made significant contributions to the field of Hispanic Studies, particularly in the areas of stylistics, ideologies, and Latin American literature. He was also involved in the publication of the journal Forum for Modern Language Studies. Bacarisse passed away in 2024, leaving behind a legacy of intellectual curiosity and dedication to his field. [Extracted from the article]

Which experiences, practices, and memories of a contemporary Argentinian publisher become part of their memoirs? How do publishers define their own trajectories? This article analyzes a relatively recent phenomenon in the field of publishing: the multiplication of books by publishers based on their own work, which is a key source for researchers of the publishing world. The present study focuses on the case of Un camino con los libros by Leandro de Sagastizábal (2023), memoirs with stories from 45 years of a career. This analysis defines two main dimensions: the ways in which the narrative is structured, and the aspects of the trajectory and of publishing that are highlighted. This article describes the style of the text; next, after identifying the periodization of the career, defines structuring facets of the publishing work: a) publisher-book promoter; b) publisher-professor/researcher; c) publisher-author; d) publisher-publisher; and e) publisher-adviser-public official. This analysis leads to theoretical reflections that remain to be explored on the ways memories become biographic devices of self-reflection. [ABSTRACT FROM AUTHOR]

This study focuses on the four books of memoirs by Esther Tusquets: Confesiones de una editora poco mentirosa (2005), Habíamos ganado la guerra (2007), Confesiones de una vieja dama indigna (2009), and Tiempos que fueron (2012). The initial premise of this research posits that, in recounting her personal experience, the author not only reveals intimate aspects of herself but also constructs a cultural narrative. To unravel the complexity inherent in this duality, three areas fundamental to autobiographical writing are explored: the configuration of identity through the narrative dimension of the text, the fictionality intrinsic to the genre, and the underlying testimonial intention of the author. The analysis shows that, although Tusquets writes these memoirs from a deeply subjective perspective, by contextualising them within a range of geographical, social, cultural, and political circumstances, she produces a dual cultural narative. Thus in the course of documenting the construction of Lumen’s catalogue through a series of definitive milestones, she also furnishes a valuable testimony to what the publishing field in Spain was like between the late Franco era and the 1990s when the great international conglomerates began to erect insurmountable barriers to the work of independent publishers. [ABSTRACT FROM AUTHOR]

Henri Deslandres initiated imaging spectroscopy of the solar atmosphere in 1892 at Paris Observatory. He developed two kinds of spectrographs: the 'spectrohéliographe des formes', i.e. the monochromatic instrument to reveal chromospheric structures (such as filaments, prominences, plages and active regions); and the 'spectrohéliographe des vitesses', i.e. the spectroheliograph to record line profiles of cross-sections of the Sun, in order to measure the Doppler shifts of dynamic features. Deslandres moved to Meudon and hired Lucien d'Azambuja in 1899; together they built the large quadruple spectroheliograph. CaII K systematic observations of the full Sun started in 1908 and were followed in 1909 by Hα with two dedicated 3-metre spectroheliographs. Daily observations were organized by d'Azambuja who also intensively used the large 7-metre spectroheliograph for his research and thesis (1930). This paper summarizes fifty years of investigations by Mr and Mrs d'Azambuja, who explored various photospheric and chromospheric lines, obtaining special spectroheliograms with the high dispersion 7-metre instrument. They also intensively observed filaments and prominences, reported results in an extensive memoir (1948) and recorded rare solar activity events with the two 3-metre spectroheliographs, until their retirement in 1959. [ABSTRACT FROM AUTHOR]

What happens if international interveners feel emotions that they consider unsanctioned, unwanted and unprofessional? What if they enact and manage their emotions in ways that they – or others – deem unacceptable? If international interveners face anxiety about being 'too emotional' or not feeling or expressing the 'right' emotions, does this challenge their sense of identity? And what consequences could this have for peacebuilding and the conflict-affected population in which they were working? Building on the growing body of critical peace and conflict scholarship that has analysed international interveners at the micro-scale, this article analyses how individual interveners' emotional and embodied experiences influence their understanding and practice of peacebuilding. Based on a discourse analysis of the memoirs of 10 international interveners, this article identifies two primary interpretive repertoires that the interveners employed and argues that they generated two ideal-type subject positions: the intervener as objective, rational, technocratic 'expert' and the intervener as irrational, fallible, vulnerable 'human'. These subject positions determined the feeling rules that the interveners followed and the dilemmas they faced. This, in turn, affected how the interveners perceived the conflict-affected societies in which they were working, and how they understood and practised peacebuilding. [ABSTRACT FROM AUTHOR]

Patrick Chamoiseau's inter-generational fascination with the writing of Saint-John Perse (SJP) is sustained, intense, sentient, and highly generative. The focus on SJP amplifies the connective timbre of Chamoiseau's own writing, confirming the relation to the "pays natal" and to the "tout-monde" as central to both writers' poetics. Five moves constitute the high points of this particular realization of a Glissantian "poetics of Relation": the SJP intertext in Chamoiseau's childhood memoirs and fiction; the two-hander construction of SJP's poetic persona in Lettres créoles (1991); the sentimenthèque disseminated across Écrire en pays dominé (1997); and, most crucially, the "Méditations à Saint-John Perse", an oral presentation from 1995 which was eventually integrated into Chamoiseau's 2013 book-length account of his "Magnetic Liaisons" with Césaire, Saint-John Perse and Glissant. The Méditations articulate a critique of criticism in favor of a demiurgic poetics of self-reflexive magnification and esteem even as they perform a dance of ethno-social and intergenerational convergence. [ABSTRACT FROM AUTHOR]

This essay reads Maryse Condé's 1999récit d'enfance, Le Cœur à rire et à pleurer, as a "generational text"; a text that is both about the unresolved and ambivalent feelings aroused by writing about the dead mother, and also about this loss as the site and source of (literary) generation. Le Cœur defiantly rewrites the classic narrative of Antillean matrifocality, and yet, although the mother's death is relegated to a single line, maternal loss suffuses the entire narrative. Moreover, the text is a reflection on language, writing and literature more generally, and can be read as an exploration of the painful transition from preoedipal to symbolic. Words in this text are destructive entities that wound and distort all relationships, but especially the relationship with the mother, igniting a sustained yearning to return to the security of the prelinguistic pre-oedipal. [ABSTRACT FROM AUTHOR]

"Shy: The Alarmingly Outspoken Memoirs of Mary Rodgers" is a candid and humorous memoir written by Mary Rodgers and Jesse Green. It delves into Rodgers' life as the daughter of renowned composer Richard Rodgers and her own journey as a composer and lyricist. The memoir explores her complex relationship with her parents, the challenges she faced as a woman in the music industry, and her personal doubts and setbacks. With its engaging and insightful content, the memoir offers valuable perspectives on the experiences of women in the music industry during the mid-20th century. [Extracted from the article]

This article is a book review of two works about the German Nobel laureate Günter Grass. The first book, "Günter Grass: Der Schriftsteller" by Dieter Stolz, is a comprehensive introduction to Grass's poetry, dramas, and prose fiction. The reviewer notes that Stolz's personal connection to Grass influences his perspective, but praises his deep knowledge of Grass's works. The second book, "Katalogisierung und Kommentierung der Jugendlektüren von Günter Grass in den 1930er und frühen 1940er Jahren" by Dorothee Neuhaus and Volker Neuhaus, focuses on Grass's early life and the books that influenced his literary output. The reviewer highlights the book's insightful interpretations and its value for researchers. [Extracted from the article]

This article focuses on memoirs by three Australian journalists, each of whom was born to European parents from a non-native-English-speaking background: Elisabeth Wynhausen's Manly Girls (1989), Tom Dusevic's Whole Wild World (2016) and James Jeffrey's My Family and Other Animus (2018). I also discuss Jeffrey's Paprika Paradise (2007), an earlier memoir of travelling in his mother's homeland of Hungary with his northern English father. The article explores the extent to which these memoirs are examples of transcultural life writing, attuned to questions of language and culture. I argue that at least two of the texts are, while one is more equivocal on these questions. All three authors take care to translate their non-native-English-speaking family members' cultural and political attitudes into an idiom that makes sense to a contemporary Anglophone Australian readership. At the same time, they often read familiar "Anglo" cultural norms critically, through a transcultural lens. [ABSTRACT FROM AUTHOR]

In 2018, Behrouz Boochani's testimonial memoir No Friend but the Mountains confronted Australian readers with their complicity in the nation's carceral border-industrial complex. In the five years since its publication, it has been translated and sold into eighteen languages in twenty-three countries and adapted for film, theatre and a song cycle. This article uses a book-historical approach to present a short biography of No Friend, analysing how it has evolved as a noteworthy work that has taken on distinct lives in the nation and beyond. It analyses two significant moments of recognition in the biography of this book: the Victorian Premier's Literary Awards, and the special issue of the life writing journal Biography. The life of this book—its production, reception and material form—suggests the potential for allegiances between cultural and literary elites in the reception of life narratives by forcibly displaced people. These allegiances mark the early versions of No Friend and have been central to its extensive mobility to new readerships. [ABSTRACT FROM AUTHOR]

This article discusses two recent essays published by the memoirists Amani Haydar (The Mother Wound) and Lucia Crowley-Osborne (I Choose Elena; My Body Keeps Your Secrets) during 2020–2022. By conceptualising these essays as paratext, drawing on Gillian Whitlock's consideration of the paratext as a critical apparatus in an ethics of reading memoir, this article argues that Haydar and Crowley-Osborne are amplifying a broader call for care from Australian authors who write about trauma, illness and disability in autobiographical genres. Negotiating with some of the formal, cultural and generic limits for memoir as social justice, these essays emphasise the cultural value of narrating life stories as well as potential personal and community benefits. In their essays, Haydar and Crowley-Osborne offer exegetical insights on process and craft, but they also draw attention to trauma memoirs' afterlives: to the evolving impact of circulation, reception and promotion on autobiographical life writing and in the context of what Sidonie Smith and Julia Watson name the unstable "futurity" of this genre. In doing so, these writers make visible ongoing wellbeing and other challenges for the author of trauma memoir after the work is published. [ABSTRACT FROM AUTHOR]

Why and how do pathways to regime complexes diverge? Building on insights from the literatures on institutional design and historical institutionalism, we argue that early institutional design choices produce long-term variation in the pace, density, and composition of institutional layers within a regime complex. In a first step, we argue that if an institution becomes focal, this increases the exit costs for member-states to leave. Additional institutional layers become a more likely outcome. In a second step, we argue that depending on the focal organization's formal or informal design, variegated sovereignty costs inform the additional layering pathways. If a focal organization is formal, sovereignty costs are high for member-states. Consequently, creating additional institutional layers becomes cumbersome, leading to a slow pace of "negotiated layering" and a regime complex characterized by low density and composed of formal and informal institutions. In contrast, low sovereignty costs associated with informal focal organizations enable a rapid process of "breakout layering" resulting in a high density of mostly informal institutions. We develop our argument by examining the evolution of security institutions in Europe and Asia through diplomatic cables, treaty texts, personal memoirs, and policy memos. [ABSTRACT FROM AUTHOR]

This article reads Hernan Diaz's Trust as a contemporary commentary on, and reimagining of, literature's entanglements with capitalism, liberalism, finance, and law. Beginning with an outline of the history of legal and corporate trusts and connecting that history to the rise of the modern novel, the article spotlights the complex role played by the notion of trust in Diaz's metafictional text. Trust tells the story of a Wall Street financier, his philanthropist wife, and the ghostwriter of his memoir through a four-part structure, moving from a realist novel called Bonds through two memoirs and ending with a diary titled Futures. This structure serves the aim, reaffirmed in Diaz's interviews, of teaching his novel's reader about the ideological implications of literary forms and about the kinds of power—financial and patriarchal—involved in turning reality into fiction. The article explores Trust 's revision of these forms and the ways in which its aesthetics forge an alignment among modernism, feminism, and financial expertise. Reflecting on the novel's metacommentary on its own values and operations, the article concludes by asking whether Trust 's liberal pedagogy offers a persuasive alternative to the narrative forms it sets out to critique. With its carefully wrought aesthetic architecture... Trust confidently insists on its own autonomy from complicity, reaffirming the liberal idea that art symbolizes, and exists in, a realm outside the market. [ABSTRACT FROM AUTHOR]

In the period when Erebê Şemo (1897-1978) lived, great events and developments took place in the world, and fundamental changes were experienced. In addition to being a witness, Şemo played an active role in many events of his time. The author's personal life journey, the historical, economic, cultural, ethnic, socio-political conditions of the regions where he lived necessitated the transfer of the author's memoir to future generations. Erebê Şemo wrote his autobiographical work Şivanê Kurmanca in 1935. In the work, he narrated about his childhood and youth memories and briefly mentioned the life of his family before his birth. The author publishes another autobiographical work called Berbang in 1958. However, this work is not entirely new. Because the narrated time in the work is the same as the narrated time at the Şivanê Kurmanca, however, the author got involved in the narration in some places. In this article, it has been examined why Erebê Şemo wanted to tell his autobiography, and more importantly, why he thought it necessary to tell his autobiography once again-without expanding the time limits. In addition, it was stated how much of his life he told, how much he did not tell and why he did not tell. [ABSTRACT FROM AUTHOR]

Throughout history, epilepsy has been subject to spiritual or supernatural interpretations and is often construed as a form of possession, divine retribution, or even a mystical endowment. However, from a medical perspective, epilepsy is a chronic neurological disorder. Elodie Durand's graphic memoir, Parenthesis (2021), offers a personal narrative documenting the complexities of epilepsy. Through a meticulous analysis of Durand's memoir, this article aims to investigate the intersections of crip temporalities and the affective dimensions of epilepsy as experienced and depicted by Durand, encompassing her epileptic seizures and neuropsychological evaluations, as well as her attempts at narrative reconstruction. Situated within the conceptual framework of crip time developed by Ellen Samuels, this essay examines the concealed nature of epilepsy as a chronic illness and its implications as an invisible disability. This study in graphic medicine conveys the embodied and experiential nature of epilepsy visualised through the medium of comics. [ABSTRACT FROM AUTHOR]

This article examines the concept of queer bibliography and its relationship to other critical bibliographical traditions. It emphasizes the significance of an intersectional approach to queer bibliography, taking into account factors such as race, class, dis/ability, and gender in addition to non-normative sexualities. The article explores the connection between queer and Black bibliography, highlighting the importance of recognizing marginalized voices and the transmission of marginalized texts. It also discusses the work of Ann Allen Shockley, a Black lesbian writer and librarian, as an example of how Black bibliography can embody queerness. The authors argue that a new form of bibliographical studies is emerging that challenges exclusionary practices and embraces liberatory futures. The text also delves into the intersection of queer bibliography and feminist theory, emphasizing the need to incorporate lived experiences and embodiment in bibliographic work. It discusses the efforts of lesbian activists in the late twentieth century United States who created bibliographies of lesbian media. The text also stresses the importance of intersectional bibliography that challenges traditional hierarchies and amplifies marginalized voices. The author reflects on the role of biobibliography in preserving queer history in Latin America and shares their personal collection of books on queer personal writings. [Extracted from the article]

This article discusses two memoirs, "Bad Mormon" by Heather Gay and "I'm Glad My Mom Died" by Jennette McCurdy, and their relationship to Mormon culture and literature. Both authors grew up in the Church of Jesus Christ of Latter-day Saints but eventually moved away from their faith. Gay's memoir focuses on her departure from the Church and her journey to embrace her true self, while McCurdy's memoir mentions her Mormon upbringing but does not attribute it as the cause of her personal struggles. These memoirs offer alternative narratives to the typical stories of either staying in or leaving the Church, highlighting the complexity of individual experiences. [Extracted from the article]

In Egypt's 2012 elections, the Muslim Brotherhood came to power after many years of repression, an unprecedented victory for the country's most active opposition movement. The Brotherhood's journey can be divided into several stages. One of the most important, which has not received enough attention, is the imprisonment of many of its major figures. Long before the coup that overthrew President Mohamed Morsi in 2013, the Arab nationalist President Gamal Abdel Nasser brutally put down the movement with mass arrests. The Brotherhood's members dominated Egypt's prisons, but they were far from the only activists in the system, which also held communists, Zionists, and other Jewish prisoners. This article uses the memoirs of the incarcerated enemies of the state to examine the struggles of these groups inside Egypt's prisons and show how the institutions served as platforms to promote the ideological struggle against the regime. [ABSTRACT FROM AUTHOR]

Zahra Husayni's war memoir Da (2008) is widely recognized as one of the most successful productions of Hawzah-yi Hunari's Holy Defence oral history project. Focusing on this work and by using a combination of paratextual analysis and close reading, the present article explores the dynamics of meaning-making as a contested phenomenon within the propagandist messaging of the Islamic Republic of Iran. The analysis hinges on the fact that despite the official promotion of this memoir as a tribute to the mothers of martyrs of the Iran-Iraq War, the narratives of these mothers are surprisingly marginalized within the text. Approaching the Holy Defence discourse as a Lyotardian grand narrative, this article raises the question whether in light of this discrepancy, a counter-discursive reading of Da is possible. Exploring this question provides insight into the construction and propagation of meaning in the Holy Defence war memoirs industry in Iran. [ABSTRACT FROM AUTHOR]