Who are we with—and without—families? How do we relate as children to our parents, as parents to our children? How are parent-child relationships—and familial relationships in general—made and (not) maintained? Informed by narrative, performance studies, poststructuralism, critical theory, and queer theory, contributors to this collection use autoethnography—a method that uses the personal to examine the cultural—to interrogate these questions. The essays write about/around issues of interpersonal distance and closeness, gratitude and disdain, courage and fear, doubt and certainty, openness and secrecy, remembering and forgetting, accountability and forgiveness, life and death. Throughout, family relationships are framed as relationships that inspire and inform, bind and scar—relationships replete with presence and absence, love and loss. An essential text for anyone interested in autoethnography, personal narrative, identity, relationships, and family communication.

In this very practical book, Stillman details why and how to record words that go straight to the heart-the simple, vital words that will speak to those you care most about and to their descendants many years from now.

This book provides guidance and insight for women who write about family. Award-winning women writers from all walks of life share their experiences in planning, composing, editing, publishing, teaching, and promoting work in a variety of writing genres. Readers will learn to tackle sensitive family issues and avoid pitfalls in memoir writing, poetry, fiction, and others. Filled with tips, exercises, and anecdotes, this anthology is appropriate for both well-seasoned writers and those just beginning.

At last! Here is a clear, concise, and highly readable explanation of how to write your family history. This book was written for the genealogist who has compiled scores of pedigree charts and family group sheets, has spent years poring over forgotten manuscripts and staring into dimly-lit microfilm readers, and who now wants to bring it all together into a final narrative form. In a timely and interesting manner, the author shows how you can compose a controlled and focused rendition of your family's story.

Why Life Writing? How many times have you looked through the family album and wished there were more pictures of “the good old days”? William Hofmann’s message in Life Writing is that there are more pictures, thousands of them just waiting to be pulled from your memory and written down. Hofmann’s clear advice on how to get fresh ideas, how to write a rough draft, or how to use the basic principles of rewriting would be useful to any writer. But his book is specifically for those people who would like to use writing as a tool for preserving their past, for recording their own memories and the memories of their parents and grandparents. From the first sentence to the last page, Life Writing is at once supportive and practical, a comprehensive step-by-step guide to gathering your family’s folklore and keeping it alive.

An extraordinary book that combines memoir and social criticism. In strikingly honest, thought-provoking prose, Lester discusses the aspects of his life that have influenced his writing, offers revealing anecdotes of the editorial process, and expresses the absolute importance of story.

“[An] irreverent and remarkably candid memoir about growing up in wealthy eighties San Francisco . . . rollicking, ruthless . . . ultimately generous-hearted.” —Vogue “A vivid mix of brio, self-awareness and sophistication . . . writing well is indeed the best revenge.” —The New York Times Book Review “A monumental piece of work.” —Kirkus Reviews “In the beginning we were happy. And we were always excessive. So in the beginning we were happy to excess.” With these opening lines Sean Wilsey takes us on an exhilarating tour of life in the strangest, wealthiest, and most grandiose of families. Sean's blond-bombshell mother (one of the thinly veiled characters in Armistead Maupin's bestselling Tales of the City) is a 1980s society-page staple, regularly entertaining Black Panthers and movie stars in her marble and glass penthouse, "eight hundred feet in the air above San Francisco; an apartment at the top of a building at the top of a hill: full of light, full of voices, full of windows full of water and bridges and hills." His enigmatic father uses a jet helicopter to drop Sean off at the video arcade and lectures his son on proper hygiene in public restrooms, "You should wash your hands first, before you use the urinal. Not after. Your penis isn't dirty. But your hands are." When Sean, "the kind of child who sings songs to sick flowers," turns nine years old, his father divorces his mother and marries her best friend. Sean's life blows apart. His mother first invites him to commit suicide with her, then has a "vision" of salvation that requires packing her Louis Vuitton luggage and traveling the globe, a retinue of multiracial children in tow. Her goal: peace on earth (and a Nobel Prize). Sean meets Indira Gandhi, Helmut Kohl, Menachem Begin, and the pope, hoping each one might come back to San Francisco and persuade his father to rejoin the family. Instead, Sean is pushed out of San Francisco and sent spiraling through five high schools, till he finally lands at an unorthodox reform school cum "therapeutic community," in Italy. With its multiplicity of settings and kaleidoscopic mix of preoccupations-sex, Russia, jet helicopters, seismic upheaval, boarding schools, Middle Earth, skinheads, home improvement, suicide, skateboarding, Sovietology, public transportation, massage, Christian fundamentalism, dogs, Texas, global thermonuclear war, truth, evil, masturbation, hope, Bethlehem, CT, eventual salvation (abridged list)—Oh the Glory of It All is memoir as bildungsroman as explosion.