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This article explores the relations between autobiography, fiction and history in the recent texts of Helene Cixous. It examines the uses and limits of a range of generic categorizations in accounting for these relations. We suggest that most categorizations tend to rely on an underlying oppositionary and exclusive (either/or) dynamic between autobiography and fiction in which one or the other may be privileged. Our contention is that Cixous's work should rather be understood within an inclusive dynamic in which all three elements, the fictional, autobiographical and the historical coexist in a complex relation which cannot be disentangled. This inclusive dynamic, we suggest, is not only central to an understanding of the texts' generic dimensions, but also to the specifics of the pact which Cixous establishes with her readers, as well as to the ethical thinking which underlies her oeuvre. [ABSTRACT FROM AUTHOR]

The article discusses various reports published within the issue, including one by David Duff on an anthology of modern genre theory, and another by William McEvoy on Hélène Cixous' writings on the theatre.