Quotes About Memoir

Memoirs are going to be problematic sells for a while, though, because even if memoir means "based in memory," right now, in the collective mind, memoir means "recovery." When my agent and I started looking at small presses the possibility for my book, I realized most small presses were not publishing memoir, because they don't want to be associated with the genre that Mary Karr calls, half-facetiously, "literature's trashy cousin."

There are so many stories that need to be told and are not being told. We tend to want to put things in boxes: "This is a memoir about a Muslim," or "This is a memoir about a woman or a normal personal." There's a certain story that assumes to be universal. Everyone else is ethnic fiction. Anyone can aspire to universality.

I look for the moment(s) in the story where the writer risked abandoning the glory of the self in favor of the possible relationship with an other. I don't ever let the market tell me what a memoir is. The first best memoir I ever read was Leaves of Grass by Walt Whitman.

But it's hard for me to pinpoint where all my characters and dialogue come from - imagination or real life. My memoir, of course, was all about my past, and many of the short stories cleave very closely to my life, but the more stories I wrote in the collection, the more that seemed to be invented, but who knows... I think I'm writing about a young woman with acne who shoplifts, but I'm really writing about myself.

Like Sylvia Plath, Natalie Jeanne Champagne invites you so close to the pain and agony of her life of mental illness and addiction, which leaves you gasping from shock and laughing moments later: this is both the beauty and unique nature of her storytelling. With brilliance and courage, the author's brave and candid chronicle travels where no other memoir about mental illness and addiction has gone before. The Third Sunrise is an incredible triumph and Natalie Jeanne Champagne is without a doubt the most important new voice in this genre.

The current memoir craze has fostered the belief that confession is therapeutic, that therapy is redemptive and that redemption equals art, and it has encouraged the delusion that candor, daring and shamelessness are substitutes for craft, that the exposed life is the same thing as an examined one.

Bob Dylan wrote in his elliptical memoir, Chronicles: Volume One, he was washed up in the 1980s, no longer a commercial success, and no longer putting out good work.

By definition, memoir demands a certain degree of introspection and self-disclosure: In order to fully engage a reader, the narrator has to make herself known, has to allow her own self-awareness to inform the events she describes.

Now that Mr. Carter has made a book of his diary, an adoring memoir entitled Keeping Faith, the notes read like a collection of letters sent from scout camp.

Voice is the je ne sais quoi of spirited writing. It separates brochures and brilliance, memo and memoir, a ship's log and The Old Man and the Sea. The best writers stamp prose with their own distinctive personality; their timbre and tone are as recognizable as their voices on the phone. To cultivate voice, you must listen for the music of language-the vernacular, the syntactic tics, the cadences.

Unless your aim is to deceive, there's not a meaningful distinction between memoir and fiction. They're marketing categories.

Life Among the Savages is a disrespectful memoir of my children.

I believe that the memoir is the novel of the 21st century; it’s an amazing form that we haven’t even begun to tap…we’re just getting started figuring out what the rules are.

There's a difference between doing memoir and writing a novel. If I had put the story of the boy killing my dog - and that was Eric also, what a little monster he was! - in a novel, even if I took it directly from life, it would be fiction.

The minute I landed back in Alaska, it was back to hip boots and fish guts. This cultural flipping wasn't easy - especially on top of the post-divorce fighting that was still going on between my parents. But this is why you don't write a memoir at age fourteen.

George Bowering doesn’t play fair. Baseball Love is so good there is no memoir in the league that can go up against it. Bowering has a sense of story and an eye for detail that eliminate the possibility that he was a lousy second baseman. Reading a home run is fun.

Book Everything is Flammable is an odd format though, not quite a diary and not quite a memoir. I was working on it as it was happening. This was gratifying to me.

And it's kind of my own fault too, in the sense that I've used my own life as a literary device so much. I think people feel very comfortable reviewing the idea of me, as opposed to what I've actually written. I find that most of the time, when people write about one of my books, they're really just writing about what they think I may or may not represent, as sort of this abstract entity. Is that unfair? Not really. If I put myself in this position where I'm going to kind of weave elements of memoir into almost everything, well, I suppose that's going to happen.

Walter Benjamin talks about art losing its original "aura" in an age of mechanical reproduction. In writing memoir, we're taking something that happened in a particular moment and meant something at that time, and we're trying to capture it to mass reproduce it for readers. So of course something is lost. And when we edit that material, we're getting even further from that aura, but toward something else that is potentially vital.

Gradually it has become clear to me what every great philosophy so far has been: namely, the personal confession of its author and a kind of involuntary and unconscious memoir.

Clyde Phillip Wachsberger's delightful memoir about tending beds of flowers as compensation for a lonely middle age only to find unexpected romance along the way is a sweet reminder that, as he puts it, 'anything can happen in a garden.' In prose that balances candor with perfect courtesy, he charms us with the message that keeping a garden with a beloved companion, this most ephemeral of all the arts, can bring us the most enduring joys and pleasures.

In memoir, can you really tell the truth about yourself? You're not going to write about your little peccadilloes, like, "I like a finger in my ass during sex." Or whatever it is. You're not going to come out in typical everyday conversation and say that. That's something that's going to be only for a select few.

I dont know where the idea originated that memoir writing is cathartic. For me, its always felt like playing my own neurosurgeon, sans anesthesia. As a memoirist, you have to crack your head open and examine every uncomfortable thing in there.

Anyone who tries to write a memoir needs to keep in mind that what's interesting to you isn't necessarily interesting to a reader.

Memoir implies the need to reveal something about yourself - to recount your life for educational purposes.

Memoir ... satisfies our need for gossip and intimacy, for testimony and confessional, and in this world of spin, offers a truthful account of what it means to succeed or fail, to love and lose, to break your heart and mend it again.

When the publisher here in America wanted to put the word "memoir" on the title page [of 'Winter Journal'] and on the cover, I said, "No, no, no, no, no, no." No genre whatsoever. It's an independent work not really connected to those things at all.

I believe the personal is the collective. One of the ironies of writing memoir is in using the "I" it becomes an alchemical "we." This is the sorcery of literature.

In the olden days, a memoir was something written by Churchill and people like that, because they had a grand experience and considered it useful for future generations. And then it became what it became - a public purging in which other people have the chance to judge you and then forgive you, perhaps learning something from your sorry example.

The real mistake of women was to let the memoir, the collective, the history, space of producing history - to let it in the hands of men.

As a blogger, Chez Pazienza is filled with outrage, passion and insight -- delivered with a distinctive point of view, a wicked sense of humor, and a two-fisted style of prose. In Dead Star Twilight, he turns all these on himself -- and produces a fierce, funny, disturbing, but ultimately uplifting memoir. This is the book A Million Little Pieces dreamed of being.