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How does a writer approach a novel about a real person? In this new collection of interviews, authors such as Emma Donoghue, David Ebershoff, David Lodge, Colum McCann, Colm Tóibín and Olga Tokarczuk sit down with literary scholars to discuss the relationship of history, truth and fiction. Taken together, these conversations enable readers to explore how these issues are negotiated in contemporary world literature.

The twelve essays collected in this work explore the afterlives of nineteenth- and twentieth-century writers in biographical fiction, or biofiction, and its sister genre, the biopic. The essays situate these genres in relation to their generic, cultural, and ideological contexts, and are organised into four groups. The first locates the origins of biofiction in the historical novel, and in Modernist experiments in life writing, while the second consists of case studies of biofiction about writers from the long nineteenth century: Charlotte Brontë, Henry James, Constance Fenimore Woolson, and Rupert Brooke. A guest essay by novelist Maggie Gee opens the third group, which analyses the fertile sub-genre of biographical novels about Woolf, while the fourth and final part of the book concerns the related genre of the biopic. The volume is comprised entirely of original commissions, whose authors include postgraduate students, practitioners and specialists in biographical writing. It will appeal to undergraduates and postgraduates on life writing and contemporary literature modules, as well as fans of the featured biographical novelists and their subjects.

In this book Cora Kaplan looks at the politics of ‘Victoriana’ from the 1970s to the present, a politics that emerges from the alternation between nostalgia and critique in fiction, film, biography and literary studies. She asks how Jane Eyre can still evoke tears and rage, as well as inspiring imitation and high art, and why Henry James has become fiction’s favourite late Victorian character in the new millennium?

This monograph treats modes of fictionality in contemporary auto/biography, memoir and autofiction. Adopting a case study approach, it demonstrates the extent to which contexts of production and reception are important in framing generic expectations with respect to the representation of lived experience and in helping to determine the status of the narrator as (fictional) persona or (implied) author.

In this volume, Boldrini examines \"heterobiography\"-the first-person fictional account of a historic life. Boldrini shows that this mode is widely employed to reflect critically on the historical and philosophical understanding of the human; on individual identity; and on the power relationships that define the subject. In such texts, the grammatical first person becomes the site of an encounter, a stage where the relationships between historical, fictional and authorial subjectivities are played out and explored in the 'double I' of author and narrating historical character, of fictional narrator and historical person. Boldrini considers the ethical implications of assuming another's first-person voice, and the fraught issue of authorial responsibility. Constructions of the body are examined in relation to the material evidence of the subject's existence. Texts studied include Malouf's An Imaginary Life, Carey's True History of the Kelly Gang, Ondaatje's The Collected Works of Billy the Kid, Adair's The Death of the Author, Banti's Artemisia, Vázquez Montalbán's Autobiografía del general Franco. Also discussed, among others: Yourcenar's Memoirs of Hadrian, Tabucchi's The Last Three Days of Fernando Pessoa, Giménez-Bartlett's Una habitación ajena (A Room of Someone Else's).

Exploring life writing from a variety of cultural contexts,Haunted Narrativesprovides new insights into how individuals and communities across time and space deal with traumatic experiences and haunting memories.

A biographical novel depicting Victoria Ocamp's friendships, debates, and conflicts with poet Rabindranath Tagore, philosopher José Ortega y Gasset, and the writers Pierre Drieu de la Rochelle, Hermann von Keyserling, and Waldo Frank, witnessed by the fictional Carmen Brey, a Galician-Spanish immigrant whose story is skilfully interwoven with that of Ocampo.

Leili could not have imagined that arriving late to Islamic morals class would change the course of her life. But her arrival catches the eye of a young man, and a chance meeting soon draws Leili into a new circle of friends and artists. Gathering in the cafes of Tehran, these young college students come together to create an underground play that will wake up their generation. They play with fire, literally and figuratively, igniting a drama both personal and political to perform their play—just once. From the wealthy suburbs and chic coffee shops of Tehran to subterranean spaces teeming with drugs and prostitution to spiritual lodges and saints' tombs in the mountains high above the city, Last Scene Underground presents an Iran rarely seen. Young Tehranis navigate their way through politics, art, and the meaning of home and in the process learn hard lessons about censorship, creativity, and love. Their dangerous discoveries ultimately lead to finding themselves. Written in the hopeful wake of Iran's Green Movement and against the long shadow of the Iran-Iraq war, this unique novel deepens our understanding of an elusive country that is full of misunderstood contradictions and wonder.

Highlighting neo-Victorian biofiction's crucial role in reimagining and augmenting the historical archive, this volume explores the complex ethical consequences of a creative movement of historiographic revisionism, combining biography and fiction in a dialectic tension of empathy and voyeuristic spectacle.

Hannah Arendt passed away on December 4, 1975. She is the protagonist of my biographical novel, What We Seem, which begins in the summer of 1975. Hannah Arendt spends one last vacation in Ticino. This ist he point of departure for the novel, which reveals different aspects of a stunningly multifaceted personality. Some aspects were well-known and publicly exposed, while others were kept hidden until the end of her life. The author of Eichmann in Jerusalem is accompanied by the little-known poet, and we encounter many other aspects of her work that are no longer seen today as the do not fit in the icon she has become. According to Arendts incisive warning, images can cover up reality. On the 50th anniversary of her death, I would like to honor her memory by narrating her in her last vacation in a small Italianspeaking village.