Modern American Memoirs [NOOK Book]

Overview

In Modern American Memoirs, two very discerning writers and readers have selected samples from 35 of the finest memoirs written in this century, including contributions by such diverse writers as Margaret Mead, Malcolm X, Maxine Hong Kingston, Loren Eisely, and Zora Neale Hurston. Chosen for their value as excellent examples of the art of biography as well as for their superb writing, the excerpts present a broad range of American life, and offer vivid insight into the real-life events that shaped their authors. ...

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Modern American Memoirs

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Overview

In Modern American Memoirs, two very discerning writers and readers have selected samples from 35 of the finest memoirs written in this century, including contributions by such diverse writers as Margaret Mead, Malcolm X, Maxine Hong Kingston, Loren Eisely, and Zora Neale Hurston. Chosen for their value as excellent examples of the art of biography as well as for their superb writing, the excerpts present a broad range of American life, and offer vivid insight into the real-life events that shaped their authors. Here, readers can learn about the time when Harry Crews, playing as a boy, fell into a vat of boiling water with a dead hog; Chris Offutt joined the circus and watched a tattooed woman swallow a fluorescent light; and Frank Conroy practiced yo-yo tricks.

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Editorial Reviews

Library Journal
Annie Dillard and publisher Cort Conley have collected excerpts from the memoirs of 35 20th-century American authors. The selections represent the best in autobiographical writing published between 1917 and 1992. Included are nine women and 26 men, both black and white, some better known than others, all distinguished writers and wonderful storytellers. Chris Offutt's "The Same River Twice" tells about the author's stint working in the circus; Anne Moody's "Coming of Age in Mississippi" describes her participation in the 1963 Woolworth sit-in. The editors precede each entry with a biographical and contextual note. There's an opening essay on the art of the memoirist and an afterword listing additional classics in the genre. This rich collection serves as an introduction to the nation's best modern writers and a primer on the American experience. Highly recommended for all libraries.-Carol A. McAllister, Coll. of William and Mary Lib., Williamsburg, Va.
Donna Seaman
In her introduction to this anthology of well-chosen excerpts from memoirs by a satisfyingly diverse group of writers, Dillard muses on the many forms memoirs take. The author is free to interpret his or her life in any way he or she chooses. Memoirists are shrewd editorialists, leaving out entire facets of their lives--husbands, wives, siblings, bad habits, boring everydayness, outrageous behavior--anything that doesn't conform to the image they want to project. Many memoirs focus sharply on the author's childhood, that time in every life when even the most ordinary things loom menacingly or magically large. Some memoirs resemble fiction, others have the pleasing momentum of essays. Dillard and Conley have selected vibrant examples of all these approaches, showcasing the work of a distinctive and, in some cases, unexpected group of writers, including Wallace Stegner, Kate Simon, Maureen Howard, Frank Conroy, Richard Selzer, Harry Crews, Loren Eiseley, James Baldwin, Margaret Mead, and Maxine Hong Kingston. Whatever tinkering these writers may have done with the facts of their past, they've done nothing to conceal the truth of their lives which shines from every beautifully, often courageously composed page.
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Product Details

  • ISBN-13: 9780061857010
  • Publisher: HarperCollins Publishers
  • Publication date: 10/13/2009
  • Sold by: HARPERCOLLINS
  • Format: eBook
  • Pages: 464
  • Sales rank: 593,246
  • File size: 702 KB

Meet the Author

Annie Dillard is the author of many works of nonfiction, including An American Childhood and Teaching a Stone to Talk, as well as the novels The Living and The Maytrees.

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Read an Excerpt

Harry Crews(1935)

Harry Crews was born the son of a farmer in Bacon County, Georgia, and grew up there. He served in the U.S. Marine Corps as a sergeant, then attended the University of Florida, where he became a professor of English in 1974.

Author of more than a dozen novels, from The Gospel Singer (1968) to Scar Lover (1992), Crews has also written stories, essays, and nonfiction.

Crews's memoir, A Childhood: The Biography of a Place, describes the first six years of his life, under circumstances "where there wasn't enough money to close up a dead man's eyes." His family lived on a series of tenant farms in Bacon County. His father died when he was two. The "daddy" in this memoir is his stepfather, whom he loved. Later he learned that this man was his uncle.

From A Childhood

It has always seemed to me that I was not so much born into this life as I awakened to it. I remember very distinctly the awakening and the morning it happened. It was my first glimpse of myself, and all that I know now—the stories, and everything conjured up by them, that I have been writing about thus far—I obviously knew none of then, particularly anything about my real daddy, whom I was not to hear of until I was nearly six years old, not his name, not even that he was my daddy. Or if I did hear of him, I have no memory of it.

I awoke in the middle of the morning in early summer from the place I'd been sleeping in the curving roots of a giant oak tree in front of a large white house. Off to the right, beyond the dirt road, my goats were trailing along in the ditch, grazing in the tough wire grass that grew there.Their constant bleating shook the warm summer air. I always thought of them as my goats although my brother usually took care of them. Before he went to the field that morning to work, he had let them out of the old tobacco barn where they slept at night. At my feet was a white dog whose name was Sam. I looked at the dog and at the house and at the red gown with little pearl-colored buttons I was wearing, and I knew that the gown had been made for me by my Grandma Hazelton and that the dog belonged to me. He went everywhere I went, and he always took precious care of me.

Precious. That was my mama's word for how it was between Sam and me, even though Sam caused her some inconvenience from time to time. If she wanted to whip me, she had to take me in the house, where Sam was never allowed to go. She could never touch me when I was crying if Sam could help it. He would move quietly—he was a dog not given to barking very much—between the two of us and show her his teeth. Unless she took me somewhere Sam couldn't go, there'd be no punishment for me.

The house there just behind me, partially under the arching limbs of the oak tree, was called the Williams place. It was where I lived with my mama and my brother, Hoyet, and my daddy, whose name was Pascal. I knew when I opened my eyes that morning that the house was empty because everybody had gone to the field to work. I also knew, even though I couldn't remember doing it, that I had awakened sometime in midmorning and come out onto the porch and down the steps and across the clean-swept dirt yard through the gate weighted with broken plow points so it would swing shut behind me, that I had come out under the oak tree and lain down against the curving roots with my dog, Sam, and gone to sleep. It was a thing I had done before. If I ever woke up and the house was empty and the weather was warm—which was the only time I would ever awaken to an empty house—I always went out under the oak tree to finish my nap. It wasn't fear or loneliness that drove me outside; it was just something I did for reasons I would never be able to discover.

I stood up and stretched and looked down at my bare feet at the hem of the gown and said: "I'm almost five and already a great big boy." It was my way of reassuring myself, but it was also something my daddy said about me and it made me feel good because in his mouth it seemed to mean I was almost a man.

Sam immediately stood up too, stretched, reproducing, as he always did, every move I made, watching me carefully to see which way I might go. I knew I ought not to be outside lying in the rough curve of root in my cotton gown. Mama didn't mind me being out there under the tree, but I was supposed to get dressed first. Sometimes I did; often I forgot.

So I turned and went back through the gate, Sam at my heels, and across the yard and up the steps onto the porch to the front door. When I opened the door, Sam stopped and lay down to wait. He would be there when I came out, no matter which door I used. If I went out the back door, he would somehow magically know it and he would be there. If I came out the side door by the little pantry, he would know that, too, and he would be there. Sam always knew where I was, and he made it his business to be there, waiting.

I went into the long, dim, cool hallway that ran down the center of the house. Briefly I stopped at the bedroom where my parents slept and looked in at the neatly made bed and all the parts of the room, clean, with everything where it was supposed to be, just the way mama always kept it. And I thought of daddy, as I so often did because I loved him so much. If he was sitting down, I was usually in his lap. If he was standing up, I was usually holding his hand. He always said soft funny things to me and told me stories that never had an end but always continued when we met again.

He was tall and lean with flat high cheekbones and deep eyes and black thick hair which he combed straight back on his head. And under the eye on his left cheek was the scarred print of a perfect set of teeth. I knew he had taken the scar in a fight, but I never asked him about it and the teeth marks in his cheek only made him seem more powerful and stronger and special to me.

He shaved every morning at the water shelf on the back porch with a straight razor and always smelled of soap and whiskey. I knew mama did not like the whiskey, but to me it smelled sweet, better even than the soap. And I could never understand why she resisted it so, complained of it so, and kept telling him over and over again that he would kill himself and ruin everything if he continued with the whiskey. I did not understand about killing himself and I did not understand about ruining everything, but I knew the whiskey somehow caused the shouting and screaming and the ugly sound of breaking things in the night. The stronger the smell of whiskey on him, though, the kinder and gentler he was with me and my brother.

I went on down the hallway and out onto the back porch and finally into the kitchen that was built at the very rear of the house. The entire room was dominated by a huge black cast-iron stove with six eyes on its cooking surface. Directly across the room from the stove was the safe, a tall square cabinet with wide doors covered with screen wire that was used to keep biscuits and fried meat and rice or almost any other kind of food that had been recently cooked. Between the stove and the safe sat the table we ate off of, a table almost ten feet long, with benches on each side instead of chairs, so that when we put in tobacco, there would be enough room for the hired hands to eat.

I opened the safe, took a biscuit off a plate, and punched a hole in it with my finger. Then with a jar of cane syrup, I poured the hole full, waited for it to soak in good, and then poured again. When the biscuit had all the syrup it would take, I got two pieces of fried pork off another plate and went out and sat on the back steps, where Sam was already lying in the warm sun, his ears struck forward on his head. I ate the bread and pork slowly, chewing for a long time and sharing it all with Sam.

When we had finished, I went back into the house, took off my gown, and put on a cotton undershirt, my overalls with twin galluses that buckled on my chest, and my straw hat, which was rimmed on the edges with a border of green cloth and had a piece of green cellophane sewn into the brim to act as an eyeshade. I was barefoot, but I wished very much I had a pair of brogans because brogans were what men wore and I very much wanted to be a man. In fact, I was pretty sure I already was a man, but the only one who seemed to know it was my daddy. Everybody else treated me like I was still a baby.

I went out the side door, and Sam fell into step behind me as we walked out beyond the mule barn where four mules stood in the lot and on past the cotton house and then down the dim road past a little leaning shack where our tenant farmers lived, a black family in which there was a boy just a year older than I was. His name was Willalee Bookatee. I went on past their house because I knew they would be in the field, too, so there was no use to stop.

I went through a sapling thicket and over a shallow ditch and finally climbed a wire fence into the field, being very careful of my overalls on the barbed wire. I could see them all, my family and the black tenant family, far off there in the shimmering heat of the tobacco field. They were pulling cutworms off the tobacco. I wished I could have been out there with them pulling worms because when you found one, you had to break it in half, which seemed great good fun to me. But you could also carry an empty Prince Albert tobacco can in your back pocket and fill it up with worms to play with later.

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Table of Contents

Introduction
from A Childhood 1
from Memoir of a Modernist's Daughter 19
from Wolf Willow 24
from Bronx Primitive 40
from Growing Up 49
from Facts of Life 68
from The Sacred Journey 80
from Fierce Attachments 91
from Confessions of a Knife 100
from Art and Ardor 108
from A Son of the Middle Border 116
from Stop-time 132
from The Autobiography of Malcolm X 142
from The Earth Is Enough 158
from Clear Pictures 172
from Black Boy 178
from This Boy's Life 193
Shoot the Piano Player 205
from Will's Boy 222
from The Woman Warrior 231
from Notes of a Native Son 248
from This Stubborn Soil 269
from Going to the Territory 280
from The Duke of Deception 288
from The Same River Twice 297
from Left Handed 315
from Coming of Age in Mississippi 321
from Court of Memory 345
Who Owns the West? 355
Replacing Memory 372
from Dust Tracks on a Road 390
from Blackberry Winter 396
from Brothers and Keepers 407
The Star Thrower 416
from The Education of Henry Adams 433
Afterword 441
Acknowledgments 447
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