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• W2324705943 abstract "Writers have several livesat least to critics they do. First is the construed as biography and serving to explain how the subject took a place in the institution of literature. Marking influences, establishing stages of development, and explaining connections among, say, family origin and social definition and the literary texts, the standard biography proffers a theory of mediations in the guise of a record. The second life, ostensibly the declared object of the biographer, actually exists beyond the horizon of literary genre, already lived, already past, before the biographer begins the act of recovery. Since this real life took place in a series of moments amidst complex social interconnections in the immediacy of what was once present but is now past perfect, it is no longer available for examination, except under the aspect of basic chronology. This literal is obliquely glimpsed through the biographer's anecdote or contemporary testimony and requires a shaping interpretation or imaginative decoding before it assumes meaning. The writer's third is the self-created product of memory as it is given expression in an autobiographical text. This is the real life recalled and shaped by the reflective power of the subject-author who transforms the completed past into the forever present. In autobiography, lived experience becomes, on the one hand, a controlled reenactment that replaces the events that were lived in a diffused way with a vision of destiny. On the other hand, and as the result of the imagined reenactment, autobiography becomes the itself, complete and knowable in a way that the elusive reality of the past can never be (Olney 244-45). By this reasoning on the multiple lives of an author, two more types, more or less partial, remain to be identified. Surely someone listening to this scheme has already thought to suggest that critical writing, even though it falls short of complete biography, nevertheless becomes a variety of writing insofar as it presents interpretation linking texts and, thus, a posits a process of development that stands for some part of the authorial life. This is correct. The critic explicating the products of imagination inevitably implies a thought experiment when the critic's subject is literary theme, a generic or stylistic investigation if the intent is formal analysis, or a projection of self and philosophy if the critical focus is upon language or structure; and in any case, whether it is an experiment, investigation, or projection that is implied by the critic's analysis, the critical writing proposes a biography. Recognition of criticism as biography leads us to the final version of the writer's life, the partial writing that emerges as the subject-author uses personal experience for rhetorical tactic or as the structural framework of a text. Not so much implied as it is" @default.
• W2324705943 created "2016-06-24" @default.
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• W2324705943 date "1986-01-01" @default.
• W2324705943 modified "2023-09-23" @default.
• W2324705943 title "Richard Wright and The Art of Non-Fiction: Stepping Out on The Stage of The World" @default.
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• W2324705943 doi "https://doi.org/10.2307/2930847" @default.
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