Journal articles on the topic 'Barns – Fiction'

Stories offer a refuge from people’s mundane troubles and commitments by immersing them in intricate fictional worlds. Narrative transportation, i.e., the feeling of being “lost” in the world of a story, has been found to be an important measure of involvement with narratives (Green & Brock, 2000). Numerous studies have examined the impact of literary fiction on readers’ theory of mind, but the relationship between genre and narrative transportation remains relatively unexplored. Black and Barnes (2015a) proposed that exposure to literary fiction produces higher narrative transportation than exposure to nonfiction texts. The present investigation sought to replicate this finding while (a) measuring baseline trait empathy, (b) addressing a confound of genre and reading difficulty noted in prior work, and (c) assessing the mediating role of affect on the relationship between genre and narrative transportation. Empathy was positively correlated with narrative transportation, r = .39, p < .001. Narrative transportation was higher for participants who read challenging fiction and nonfiction than for participants who read easy fiction, F(2, 891) = 5.79, p = .003, ηp2= .013. Positive affect, but not negative affect, mediated the effect of challenging versus easy text conditions on narrative transportation, b = –.16, se = .04 (95% CI [–.25, –.08]). These findings suggest that narrative transportation may not be dependent on story genre, but rather on a given text’s difficulty level and the positive emotions experienced while reading.

Prior research has shown that cumulative written fiction exposure is correlated with ( Mar, Oatley, Hirsch, de la Paz, & Peterson, 2006 ; Mar, Oatley, & Peterson, 2009 ) and 1-time exposure to literary fiction increases (e.g., Black & Barnes, 2015a ; Kidd & Castano, 2013 ) performance on an emotion-reading task. However, Panero and colleagues (2016) found that although lifetime fiction exposure is a reliable predictor of performance, the causal effects previously observed may be more fragile (see also Samur, Tops, & Koole, 2017 ). The current article is an exploration of the extent to which the ability of fiction to affect social cognition may depend not only on what is read, but also how one reads. Specifically, an argument is made that the effect of fiction on social cognition may depend on the degree to which the reader contributes imaginatively to the text and that, although drawing meaning from literary fiction may require high levels of imaginative engagement, popular and genre fiction may allow for engaging in this way. This stance is discussed with respect to the role that emotional investment in a story and its characters might play in influencing readers of popular fiction to read in a “literary” way.

The paper offers a reading of the novel A History of the World in 10 ½ Chapters by Julian Barnes introducing current theoretical frameworks dealing with the relationship of history and fiction from the perspective of the second decade of the 21st century. Although the novel explicitly deals with the issue of history, it was often insufficiently addressed in the critical analyses of Barnes’s work as well as in the treatment of history in fiction, especially in terms of the analysis of structure and the treatment of time explained as the experience of the present. Considering the processes Mark Currie defines as crucial for understanding the relationship of time in fiction, time-space compression, archive fever and accelerated recontextualization, the paper offers an insight how those function in the novel from the standpoint that the late XX century fiction is no longer considered to be a part of our ‘contemporary’ setting.

When we read crime fiction, we oftentimes expect a cast dominated by adult characters. This is likely a result of decades’ worth of popular crime fiction narratives almost exclusively containing adult characters. The earliest literature in the mystery and crime genre that was targeted towards younger audiences contained teenage detectives and adult criminals because it allowed the younger audiences to read about powerful teenagers overthrowing adult authority while still only engaging in acceptable moral activities in an attempt to decrease or discourage juvenile delinquency. A newer trend among young adult crime fiction novels is the adolescent playing the part of the criminal in addition to the detective. Applying social cognitive theory explored in the study conducted by Black and Barnes to the roles of adolescents in Karen M. McManus’s young adult mystery novel One of Us Is Lying and its sequel One of Us Is Next, this paper will analyze the novels’ adolescent characters to show how adolescent characters in young adult crime fiction reflect their young audiences’ desires to subvert adult hierarchies while still displaying acceptable morals and how they possibly influence their sense of morality.

What would happen if we could create societies with an abundance of goods and services created by cutting-edge technology, making manual wage labour unnecessary – what has been labelled societies with a post-scarcity economy. What are the pros and cons of such a future? Several science fiction novels and films have discussed these questions in recent decades, and have examined them in the socio-political, cultural, economic, scientific and environmental contexts of globalization, migration, nationalism, automation, robotization, the development of nanotechnology, genetic engineering, artificial intelligence and global warming. In the first section of this article, I introduce methodological approaches and theoretical perspectives connected to Critical Future Studies and science fiction as anticipatory knowledge. In the second and third section, I introduce the question of the value of work by discussing some examples from speculative fiction. In section four to seven, I analyze the Thousand Culture tetralogy (1992–2006), written by science fiction author John Barnes. The Thousand Cultures tetralogy is set in the 29th century, in a post-scarcity world. It highlights the question of work and leisure, and the values of each, and discusses these through the various societies depicted in the novels. What are the possible risks with societies where work is voluntary?

Julian Barnes is one of the best-known contemporary British authors, not only for his taste for formal experimentation well-documented in the novels and short stories he has published since the 1980s, but also for his obsession with death. Despite the fact that death – as a prime concern expressed through his characters’ discussions, particularly when they are in their old age – has been present in most of Barnes fictional works, the topic becomes centre-stage in the two memoirs that he has published, namely, Nothing to Be Frightened Of (2008) and Levels of Life (2013). In his memoirs, Barnes connects his personal experience with the works of philosophers and writers and with the experiences of those around him with the aim of trying to discern how he himself and, by extension, his own contemporaries and Western society have dealt with death. For Barnes, writing becomes a therapy to confront his own existential fears as well as traumatic experiences – such as the sudden death of his wife as described in Levels of Life – at the same time that he reflects on the place death occupies in contemporary times.

With his 2016 novel The Noise of Time, Julian Barnes showed once again that he had not finished with postmodernist experimentations, nor with his interest in biography and history. This paper discusses the political and postmodernist elements of The Noise of Time. In The Noise of TimeBarnes embarks on a journey of exploration of the strains political repression has on an artist living and working in Stalinist Russia where everything was conducted under the directives of the political regime. Barnes intertwines the characteristics of both postmodernism and political novel to render a fictional biography of Dimitri Shostakovich, a renowned Soviet composer who lived and worked through the oppression of Stalin’s regime and in the years of his successors. In his portrayal of the workings and implications that ideological artistic doctrines and forms of political power can have on artists, Barnes uses primarily intertextuality and historiographic metafiction, and this paper will mostly focus on these two postmodernist elements of the novel.

The present article studies structural models and semantic content of parenthetical insertions in modern English fiction. The relevance of the research is determined by its focus on the study of the corpus of parenthesis in the modern English language within the framework of the general science issue ‘man and the language’. The study is novel in that it is carried out using evidence from modern English literature (texts written by S. King, J. Barnes, D. Mitchell, J. Coe, Laura van den Berg). This article will be of interest to researchers dealing with problems of parenthesis in modern English and to specialists in semantic syntax.

This article examines the dialectics of memory and oblivion in two Arabic novels deeply imbricated in the Lebanese civil war (1975-1990) and its aftermath: Ghādah al-Sammān’s (b. 1942) wartime novel Kawābīs Bayrūt (Beirut Nightmares), first published in 1976; and Ilyās Khūrī’s (b. 1948) postwar novel Yālū (Yalo), first published in 2002. Characters in both novels sift through fragments of their wartime memories, selectively forgetting some and remembering others in order to craft particular textual narratives for themselves that impede, enable, critique, and/or complicate the possibility of their belonging to the postwar Lebanese nation. Ruins are strewn throughout the novels. Instead of embracing ruins as nostalgic markers as did the classical bards of Pre-Islamic Arabia, the narrator of Kawābīs Bayrūt conjures up their innovators, such as al-Mutanabbī and Abū Tammām, to whose introspective meditations on ruins al-Sammān adds her own textured rereading of ruination atop their visceral rejection of all things nostalgia-infused. As the protagonists are continually entangled in (and are produced by) the violence of the war machine, they persistently struggle to integrate into their respective realities, revealing the contradiction at the heart of so-called ‘national belonging.’

Published in 1996, Julian Barnes’ England, England is a novel that addresses several thought-provoking themes, such as the clash between the old versus the new, the intersection of national and personal identity, and the resurgence of modern nationalism. In particular, the novel England, England provides interesting discussions regarding how collective memories of a nation and its people can be used and manipulated. This is a topic that was wholly portrayed as ridiculous in the novel but may be finding an increasing resemblance in today’s political developments worldwide. This paper analyses Barnes’ novel and examines his portrayal of nationalism and collective identity through the lens of both the fictional new “England, England” and the traditional “Anglia.” In doing so, Barnes argues the importance of authenticity and serves as a cautionary voice against the danger of unawareness and ignorance. In England, England, as with collective identity, an individual’s construction of identity becomes intertwined with a nation’s reconstruction of its history. The study offers a deeper understanding of the novel’s profound commentary on identity, history, and the manipulation of national narratives, which holds significant relevance in today’s socio-political landscape.

This paper intends to explore the relationship between history and fiction in the novel AHistory of the World in 10 1⁄2 Chapters (1989) by the British writer Julian Barnes in order to indicate how these two notions have been commingled in different periods. In this regard, the focus of the current study is to investigate the above-mentioned novel, and to demonstrate the invalidity of historical records, their subjectivity, and how throughout history myths have become realities, with an eye on New Historicism. By the end of this study, its reader’s attitude towards history and what s/he is presented with as fact and truth is hoped to change, not to readily accept historical records and stories as absolute truths, rather to consider them one possible history among many others that might have been marginalized and suppressed by a dominant ideology.

While the crime genre may have seemed as purely masculine for the greater part of its history, feminist critics looking for the roots of female crime writing have found a rich history of both the woman crime writer as well as the woman detective. Since the 1980s there has been not only a pronounced resurgence of interest in crime fiction, but also a boom of female detectives created by female writers. Focusing on works by Robert Galbraith, Denise Mina, Linda Barnes, Dana Stabenow and S. J. Rozan, this article explores some of the ways the traditionally masculine private eye subgenre can be appropriated to accommodate a female protagonist. Comparing a variety of protagonists and narrative strategies, it further argues that, perhaps paradoxically, the originally dominantly masculine hardboiled PI tradition seems well accommodating to female (even feminist) appropriations.

Wayne C. Booth says that a novelist creates an implied author that is an ideal, literary, and created version of the real author. Seymour Chatman has emphasized the implied author is a principle that invents the narrator who has the direct means of communicating. Chatman says it is important distinguish among narrator, implied author, and real author. Booth originally says that unreliable narrators vary on how far and in what direction they depart from the author&rsquo;s norms. The concept of Booth&rsquo;s term &lsquo;unreliable narrator&rsquo; has been a subject to debate. In Ansgar Nunning&rsquo;s perspective, the reader has a role in detecting narrational unreliability. There are four forms of unreliable narration: intranarrational unreliability, internarrational unreliability, intertextual unreliability, and extratextual unreliability. Julian Barnes&rsquo; novel The Noise of Time is a fictional biography of a real Russian composer named Dmitri Shostakovich whose work of art flourishes even under the oppression of the Soviet government. According to a review in The Guardian, the novel is mainly on Shostakovich&rsquo;s battle with his conscience when living under the rule of Joseph Stalin. It is possible that the real author, implied author, and narrator are the same person in Barnes&rsquo; case. The objective of this article is to examine whether Barnes is reliable in telling the story of Shostakovich or not.

I barnelitteratur har fugler og barns forhold til natur lenge hatt en sentral plass. Premissene som ligger i bildebøker kan imidlertid ha betydning for barns forståelse for naturen og et bærekraftig samfunn. Både rammeplan en for barnehagen og læreplanverket for skolen understreker at det er viktig at barn skal bli kjent med naturens mangfold, få naturopplevelser, skape tilhørighet til og lære seg å ta vare på naturen. Det betyr at det er nødvendig å skape bevissthet om hva som legger premisser for en slik utvikling. I lys av en økokritisk tilnærming retter artikkelen oppmerksomheten mot hvilken rolle fugler er gitt i bildebøker, og hvordan forholdet mellom fugler og mennesker fremstilles i de fysiske omgivelsene. Med utgangspunkt i analyse av tolv bildebøker der fugler og barn inngår i en betydningsfull (vennskaps)relasjon, drøftes det hvilken betydning fremstillingen av fuglenes rolle i relasjonen i den fiktive handlingen kan ha å si for forståelse av natur med tanke på en bærekraftig utvikling. ENGLISH ABSTRACT What Role Do Birds Play in Children’s Picture Books, in Light of an Ecocritical Approach? Birds and children’s relationship to nature have long been central in children’s literature. However, the premises in picture books can have an impact on children’s understanding of nature and a sustainable society. The Norwegian curricula for both kindergartens and schools emphasize that it is important that children should become familiar with nature’s diversity, have nature experiences, create a sense of belonging to and learn to take care of nature. This means that it is necessary to create awareness of what sets the premises for such a development. In light of an ecocritical approach, this article draws attention to the role birds are given in picture books, and how the relationship between birds and humans is depicted in the physical environment. Based on the analysis of 12 picture books, in which birds and children are part of a significant (friendship) relationship, it is discussed what significance the representation of the birds’ role in the relationship in the fictional narrative can have on the understanding of nature, with a view to sustainable development.

La biographie d’écrivain contemporaine (sur un écrivain par un écrivain) – et les nombreux genres voisins : le roman biographique, l’essai biographique, la fiction biographique, le roman du biographe, etc. – se signale par un usage particulier de l’archive qui la distingue des biographies plus conventionnelles signées par des universitaires ou par des journalistes. Dans des ouvrages comme Le Perroquet de Flaubert de Julian Barnes, Rimbaud le fils de Pierre Michon ou Morts imaginaires de Michel Schneider, l’archive n’a pas pour unique fonction d’étayer le récit, d’attester que telle chose ou tel événement a été : elle ne disparaît pas sous la surface narrative du récit de vie, elle est au contraire exhibée, questionnée, quand ce n’est pas triturée ou tout simplement créée, entre fonction d’authentification et fonction de fabulation. L’article que nous proposons poursuit deux objectifs qui en ordonnent les deux parties. Le premier est d’interroger le statut de l’archive dans la praxis biographique en suivant le parcours qui va de sa médiatisation à son appropriation, parcours illustré par plusieurs exemples tirés de notre corpus. Le second objectif, qui consiste à observer de près le travail de l’archive dans une biographie contemporaine, est au fondement de notre deuxième section : l’étude de la biographie d’un « écrivain » pour le moins surprenant, Vladimir Ilitch Oulianov dit Lénine, par Dominique Noguez (1989).

Статья посвящена книге современного британского писателя Джулиана Барнса «Портрет мужчины в красном» (2019). Актуальность работы заключается в необходимости осмысления жанровой природы книги, ее художественных и стилистических особенностей, не получивших в силу ее новизны достаточного научного освещения. Цель работы состоит в выявлении соотношения художественного и документального в книге «Портрет мужчины в красном». В результате работы обосновывается, что текст книги построен на взаимопроникновении художественного и документального начала. Доказывается, что художественное начало в книге Барнса представлено на различных уровнях, в разнообразии форм и средств. В первую очередь, это особенности нарративной стратегии. Во-вторых, художественное начало в книге обеспечивается обращением к широкому кругу литературных источников, что может быть охарактеризовано как интертекстуальность. Не менее значимыми являются использование интермедиальных тропов, обращения к живописи, фотографии, музыке и в целом к искусству эпохи рубежа XIX–XX веков. Список прецедентных текстов, произведений живописи и музыки при этом охватывает широкий круг авторов Франции и Великобритании рубежа XIX–XXвеков. Кроме того, художественное начало книги также обеспечивается образностью, яркостью и выразительностью языка, присущей стилю автора иронией и т. д. Таким образом, доказывается, что в книге представлены как документальное, так и художественное начало. Результаты исследования могут быть использованы при изучении курса зарубежной литературы в целом и творчества Дж. Барнса в частности. The article is devoted to a book written by the modern British writer Julian Barnes, The Man in the Red Coat (2019). The relevance of the work lies in the current need to comprehend the genre of the book, its artistic and stylistic bases, which have not been fully addressed by contemporary scholarship. The purpose of the work is to identify the relationship between fiction and document in the book The Man in the Red Coat. The conclusion to the research substantiates that the text of the book is based on interpenetration of artistic and documentary principles. The paper shows that this artistic principle is presented in Barnes’s book at various levels and in a variety of forms and means. First of all, these are the features of his narrative strategy. Secondly, the artistic principle in the book is provided by referring to a wide range of literary sources (intertextuality). Equally significant means embrace the use of intermedial tropes, allusions to painting, photography, music and, in general, to all arts at the turn of the 19th–20thcenturies. The list of precedent texts, paintings of and music embrace a wide range of French and British authors at the turn of the 19th–20thcenturies. In addition, the very opening of the book is characterized by figurativeness, brightness and expressive language, the irony inherent in the author’s style, etc. Thus, the paper proves that the book rests on both documentary and poetic bases. The results of the research can be further applied in teaching history of foreign literature and specifically J. Barnes’s works.

The period between 1945 and 1970 was critical for the public reputation of British science. It was also a golden age for British cinema. Feature films of this period are used in this paper as a tool for investigating the public image of the scientist. Three main stereotypes are identified, but one of these, which I have called `the Boffin' forms the main focus of the paper. `Boffins' are scientists working with the government and/or armed forces in wartime. An analysis of the portrayal of Barnes Wallis in The Dam Busters provides the main characteristics of the stereotype, and fictional Boffins from other films are compared with this. The origins of the stereotype are traced to the actual situation of scientists in the British war effort, and to class and cultural divisions in post-war Britain. The persistence of the stereotype is also discussed. The implications of this analysis for our understanding of public attitudes to scientists during this period are considered.

In an attempt to evaluate the fidelity of Hardy's representation of dialect speech, critics have made implicit or explicit reference to dialects actually spoken at the time Hardy wrote his novels of rural life. To this end, comparisons are often made between features of ‘Wessex dialect’ and contemporary records of dialects produced by amateur dialectologists, such as Hardy's friend William Barnes. In this article I propose a new approach to the relationship between non-fictional records of dialects in the nineteenth century and the literary representation of dialect speech in Hardy's novels. I argue that the considerable practical and theoretical difficulties that are to be found in non-fictional records of dialects, mean that Hardy's version of dialect speech cannot be read back on to authentic dialect speech. Only when the non-literary definition and representation of dialects are recognised as problematic, can questions be asked which reveal the true complexity of dialect speech in the novels. I demonstrate a reading of the language of Hardy's novels as a complex intersection of contemporary rules of definition of dialects, which are re-presented in the texts as internally and mutually contradictory discourses. Focusing upon the discursive construction of the sign of ‘Wessex dialect’, I indicate how Hardy's literary version of dialect speech can be read as a political critique of the definition and representation of the opposition between ‘folk-speech’ and ‘book English’ at the time the novels were written.

Актуальность данной статьи, посвященной решению проблемы реализации нарративной стратегии самоотстранения в романе Джулиана Барнса «Метроленд», обусловлена двумя фактами. Во-первых, изучение художественной литературы сквозь призму нарратологии является на сегодняшний день одним из самых перспективных направлений в литературоведении. Во-вторых, проблема выделения нарративных стратегий в современных англоязычных романах на данный момент не имеет полноценной разработки. Целью статьи является рассмотрение специфики нарративной стратегии самоотстранения в романе писателя. Методологической основой работы стал нарратологический подход. Результаты исследования связаны с раскрытием функционального потенциала выбранной автором нарративной стратегии. Благодаря последовательной реализации в романе стратегии самоотстранения, Барнс убеждает наррататора в неизбежности отстранения человека от своего «я»-в-прошлом. С помощью разнообразных повествовательных приемов писатель высказывает мысль о том, что хронология человеческой жизни предполагает вечное развитие, непрерывное становление своей личности, которое было бы неосуществимо без постоянного обновления человеческого «я». В статье отмечается амбивалентность процесса отчуждения человека от себя самого. С одной стороны, самоотстранение несет в себе деструктивное начало, которое предполагает напряженный конфликт между временны́ ми ипостасями человека, редуцирующииQ ся лишь по мере уменьшения дистанции между ними. С другой стороны, нельзя переоценить созидательное начало самоотстранения: именно благодаря ему человек способен посмотреть на себя со стороны, проанализировать ошибки прошлого, изменить свои взгляды на мир и в конечном счете прийти к осознанию счастья в настоящем моменте жизни. Полученные результаты могут быть применены как в области нарратологии, так и в сфере исследований романного наследия Барнса. The relevance of this article, devoted to solving the problem of implementing a narrative strategy of self-exclusion in Julian Barnes' novel "Metroland", is due to two facts. Firstly, the study of fiction through the prism of narratology is currently one of the most promising areas in literary studies. Secondly, the problem of identifying narrative strategies in modern English-language novels does not have a full-fledged development at the moment. The purpose of the article is to consider the specifics of the narrative strategy of self-exclusion in the writer's novel. The methodological basis of the work was the narratological approach. The results of the study are related to the disclosure of the functional potential of the narrative strategy chosen by the author. Thanks to the consistent implementation of the strategy of self-exclusion in the novel, Barnes convinces the narrator of the inevitability of removing a person from his "I"-in-the-past. With the help of various narrative techniques, the writer expresses the idea that the chronology of human life presupposes eternal development, the continuous formation of his personality, which would be impossible without the constant renewal of the human "I". The article notes the ambivalence of the process of alienating a person from himself. On the one hand, self-exclusion carries a destructive beginning, which implies a tense conflict between the temporary hypostases of a person, which is reduced only as the distance between them decreases. On the other hand, it is impossible to overestimate the creative beginning of self-withdrawal: it is thanks to him that a person is able to look at himself from the outside, analyze the mistakes of the past, change his views on the world and ultimately come to the realization of happiness in the present moment of life. The results obtained can be applied both in the field of narratology and in the field of research of Barnes' novel heritage.

A distinctive feature of linguistics of the 21st century is that language and culture are no longer observed separately and have merged into such a phenomenon as linguoculture. Due to the fact that English occupies a leading position as the language of world communication and is often used as an application to different cultures, the English-language description of foreign or external cultures is becoming more topical and important. The main aim of this article is to describe stylistic functions of such culturally marked vocabulary as xenonyms presented in the postmodern biofictional novel “The Noise of Time” by Julian Patrick Barnes. The article provides an overview of the stylistic functions of xenonyms in general, and it also gives examples of the use of some other culturally marked lexical units, such as toponyms, polyonyms, urbanonyms, lexical and semantic calques, presented in the biofictional novel “The Noise of Time” and use by the author in order to enrich the narration. Due to the use of various linguistic, cultural and stylistic means in his biofictional narrative, the English-speaking author managed to represent the environment surrounding his characters when representing real setting in the fictional world of a literary text.

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In light of today’s deeply connected social and environmental crises, environmental and sustainability education is increasingly being integrated into public health and healthcare professional education around the world (Barna, Maric, Simons, Kumar & Blankestijn, 2020). The Norwegian ‘regulations on national guidelines for physiotherapist education’ clearly support the integration of these topics by stating that ‘in addition to individually oriented work, physiotherapists should contribute to improving public health and the sustainability of society on the group and system-levels…with competencies in interdisciplinary and goal-oriented collaborations within the health- and care-sector and other sectors…to meet societies existing and future needs’ (Forskrift om nasjonal retningslinje for fysioterapeututdanning, 2019, our translation). In a new introductory public health module for our 1st year physiotherapy students at UiT Norges Arktiske Universitet we therefore integrated education about the social and environmental problems of our time and how they interact with health at many levels to inspire students to imagine novel futures for physiotherapy and the role of healthcare professionals in the future.

Richard Gordon (1921–2017) was a prolific writer of both humorous fiction and historical reviews. He trained in medicine at St Bartholomew’s Hospital (Barts) in London and specialised in anaesthesia working at Hill End Hospital, St Albans (where a large proportion of Barts work took place to avoid the impact of the Blitz during the Second World War) and at the Radcliffe Infirmary, Oxford with Robert Macintosh. He published multiple papers and a book on trichlorethylene anaesthesia and edited a textbook of anaesthesia for medical students which ran for 10 editions. His gift for writing and his prominent public persona placed him in a unique position to highlight the importance of the newly emerging speciality of anaesthesia. He did the exact opposite of this and instead created a representation of an uninterested spectator to surgical activity, a representation which still persists in some quarters today.

On October 16 and 20, 1986 my partner in the cattle business and I acquired from a reputable order buyer in West Virginia 177 calves which had been purchased in sales barns. The individual average pay weigh was 553 pounds. The cattle arrived at a backgrounding lot in Michigan weighing 526 pounds. Stated in terms used in the trade, the calves experienced a hauling-in shrink of 4.9%. On arrival, they were placed on long hay and converted to a ration of chopped hay, corn silage, corn grain, and soybean meal. The calves when unloaded appeared to be "right". Bawling was minimal and by-and-large all went up to the bunk and started to eat. On day two, after arrival of load one, 18 animals were pulled for treatment. To bring this non-fictional narrative to a close, to date we have experienced a morbidity (that is treatment rate) of some 54%, a mortality rate of about 4%, and a mortality/morbidity percentage of about 7.5%.

The American-English writer Djuna Barnes (1892-1982) has been an influential figure in the English modernist fiction. Her works challenge the conventional approaches to sex/gender categories through experimentation on the level of both context and form. Barnes’s tendency to uncover the fluidity of subjectivity and disrupt the Cartesian understanding of the stable Self particularly shows itself in her problematization of genre categories. In other words, she offers a radical critique of “naturalized” gender/sex categories in her works by re-formulating a wide range of genres. Reading her three short stories, written under the pseudonym Lydia Steptoe, this study aims to explore how she plays with the diary form and why she locates it within the genre of short story. It argues that Barnes’s “The Diary of a Dangerous Child” (1922), “The Diary of a Small Boy” (1923), and “Madame Grows Older: A Journal at the Dangerous Age” (1924) shed light on the feminist/poststructuralist notion of the subject-in-the-making through the re-appropriation of the diary form within the genre of short story. Her experimentation on the genre functions to lay bare the production and destabilisation of gender boundaries, and thus, presents diary writing as part of storytelling as a subversive act witnessing and/or contributing to the ontological becoming of subjects.

In the article �The Lemon Table� by Julian Barnes is analyzed from the point of view of �the mighthave-beens� plot functioning in this storybook. This plot is an essential part of the fundamental for this book plot of aging and associated with its physical and mental processes that heroes of these short stories are experienced. The analysis of the majority of the short stories makes it possible to talk about �the might-have-beens� as metaplot that ties separate short stories of this storybook with each other and forms the unity of the storybook as an artistic whole. A metaplot in prosaic text is understood as that invariant plot that permeates the texts of one or another writer, which is realized in these texts in various versions of event scenarios and expressed in a figurative-motive complex, at the ideological-thematic and narrative levels, at the level of stylistics and artistic tropes of writer�s works. �The might-have-beens� metaplot repeats and manifests itself in the short stories in its different event variations and with especial completeness and emphasis in such short stories as �Story of Mats Israelson�, �Hygiene�, �The Revival�, �Bark�, �The Fruit Cage�, �The Silence�. Thus each short story enters into dialogical relationships with other stories, due to the formed internal intertextuality of this storybook and made metatext of J. Barnes� fictional prose, as a consequence of the invariant plot of �the might-havebeens� as the source code of the generation of meaning in the artistic consciousness of the English writer evinced in many of his other works. So the main aim of this article is to discover and analyse the plot of �the might-have-beens� that becomes metaplot and metamotif of �The Lemon Table� by J. Barnes. The elements of motif, comparativetypological, receptive-interpretive, and intertextual methods of analysis have been used in this work, which helped to achieve our aim. In �Story of Mats Israelson� the invariant of �the might-have-beens� plot is presented in its fullest expression, and this plot in different variations will be repeated in other stories of the storybook. It will become its key motif, which will be related with other central motifs of other short stories of this storybook (the motif of loneliness, love, vanity of life, old age, death and immortality). �The might-have-beens� metaplot will determine the development of event situations of the short stories with a predictable culmination of misunderstanding and dissatisfaction and with the denouement of feelings or actions that have not found their embodiment, which reveals itself in a separation, alienation or death of the heroes. �The might-have-beens� metaplot will show the peculiarities of the heroes� characters and their reactions to life situations, which will be the result of their individual life fears and complexes, aggravated by the limit situation of imminent death. �The might-have-beens� metaplot is supported by specific chronotope, which becomes space and time of the unrealized and non-embodied. This plot and motif are evinced in the short stories of �The Lemon Book� with the help of artistic metonymy and a discourse of silence, that fully expresses the impossibility of embodying the heroes� feelings and their deepest desires. But in any event variations, �the might-have-beens� metaplot keeps structural and semantic core that is the life path of the short stories� heroes determined by non- embodiment of their innermost desires, intentions and expectations. However, the precise impracticability of dreams, the unfulfillment of aspirations cause the piercingly sad and universal meaning of life of the heroes of �The Lemon Table� by J. Barnes.

Topicality of the problem raised in this article is determined by insufficient representation of J. Barnes’ creative phenomenon, in particular his prose translation studies analysis, in the Ukrainian philological science. Complex nature of the postmodern belles-lettres discourse elucidation has been conditioned by its intertextuality and genre heterogeneity of its text parts. Non-linear narration together with the intricate combination of discourse samples belonging to various genres and styles in the text framework. Thus, the realistic illusion is made by means of its consideration from the psycholinguistic point. The latter concerns conceptual opposition emphasis as well the separate units stressing. An illusion is also made of the discourse parts reference to different psycho-emotional dominants; the latter generates the text versatility interpretations. In the analyzed work of fiction inversion (in combination with other stylistic means) performs semantic (plot-forming) and stylistic (expressive and pragmatic) functions. Inverted word order with an emphatic do is used for the subject elements emphasis; the negative inverted statements intend to intensify certain semantic components stressing in micro- and macrocontextual structure; inverted sentences with an introductory there were applied to emphasize and describe the depicted world picture components as the personages’ psycho-emotional state indicators. The final analyzed sample provides a vivid example of the above. The emotive colouring has been achieved by actualizing expressive means belonging to different language levels; especially frequent is the use rhetoric questions and statements. The key feature of the translated text has been focused on rendering the functional and stylistic parameters of the source text into the target language. The compensatory means applied in the target text comprise inherent and adherent expressive elements of different language levels, punctuating marks intending to convey the belles-lettres text melodic sounding, and lexical units belonging to various registers.

This article compares the image of a wolf in native and foreign prose works and discusses the importance of dialogical teaching. The educational value of works of art depicting animals, including wolves, which contribute to the formation of man as an individual, is analyzed and discussed in foreign prose. The world-famous J.London, who paid special attention to the human problem by describing the relationship between man and wolf. A comparative analysis of the large-scale work of London "White Fang" and the story "Kokserek" by M. Auezov. Also, in response to questions from students, J.London's "Wolf", Ernest Seton-Thompson's "Lobo", "Winnipeg Wolf", Kazakh writer D.Ramazan's "Kokzhal" stories are also compared and the internal psychology of wolves raised in human hands and wolves raised in their environment is systematically analyzed. The answers to the students' questions about the attitude of man to animals are discussed in the works. The lesson takes into account the views of well-known researchers on dialogical learning, covering the theoretical and practical significance of the use of the method of research conversation, a type of dialogic conversation. In this study, the author's ideas in these fictional prose and the reader's own views on the inner psychology of the wolf were raised. In a comparison of foreign and domestic classical prose, in which the image of the wolf is embodied, along with the main idea of the writers, the readers' conclusions were also taken into account. When analyzing the internal psychology of the wolf, examples of tasks that are given to each group in the class were given. One of them said, "How could I finish a work if I were a writer..." you can work in this direction. When answering the questions asked, it was shown that the students are not only fully familiar with the text but also enter into a dialogue with critical comments. The importance of dialogical teaching, which increases the interest of students in lessons, is evidenced by the works of such researchers as J. Aimautov, D. Barnes, N. Mercer. In all the works about the wolf, strictly taking into account the psychology of the laws of nature, it is clear that the attitude of man to animals is revealed from different sides. With a comparative analysis of the differences in the wolf's relationship with people, their fate, their psychology in the works, I was convinced that dialogical conversation is quite acceptable. One of the types of dialogic conversation is the effectiveness of the method of research conversation, i.e. the ability of students to stay in their thoughts, to argue their opinion.

Introduction: Our current obsession with the lives of others “Biography—that is to say, our creative and non-fictional output devoted to recording and interpreting real lives—has enjoyed an extraordinary renaissance in recent years,” writes Nigel Hamilton in Biography: A Brief History (1). Ian Donaldson agrees that biography is back in fashion: “Once neglected within the academy and relegated to the dustier recesses of public bookstores, biography has made a notable return over recent years, emerging, somewhat surprisingly, as a new cultural phenomenon, and a new academic adventure” (23). For over a decade now, commentators having been making similar observations about our obsession with the intimacies of individual people’s lives. In a lecture in 1994, Justin Kaplan asserted the West was “a culture of biography” (qtd. in Salwak 1) and more recent research findings by John Feather and Hazel Woodbridge affirm that “the undiminished human curiosity about other peoples lives is clearly reflected in the popularity of autobiographies and biographies” (218). At least in relation to television, this assertion seems valid. In Australia, as in the USA and the UK, reality and other biographically based television shows have taken over from drama in both the numbers of shows produced and the viewers these shows attract, and these forms are also popular in Canada (see, for instance, Morreale on The Osbournes). In 2007, the program Biography celebrated its twentieth anniversary season to become one of the longest running documentary series on American television; so successful that in 1999 it was spun off into its own eponymous channel (Rak; Dempsey). Premiered in May 1996, Australian Story—which aims to utilise a “personal approach” to biographical storytelling—has won a significant viewership, critical acclaim and professional recognition (ABC). It can also be posited that the real home movies viewers submit to such programs as Australia’s Favourite Home Videos, and “chat” or “confessional” television are further reflections of a general mania for biographical detail (see Douglas), no matter how fragmented, sensationalized, or even inane and cruel. A recent example of the latter, the USA-produced The Moment of Truth, has contestants answering personal questions under polygraph examination and then again in front of an audience including close relatives and friends—the more “truthful” their answers (and often, the more humiliated and/or distressed contestants are willing to be), the more money they can win. Away from television, but offering further evidence of this interest are the growing readerships for personally oriented weblogs and networking sites such as MySpace and Facebook (Grossman), individual profiles and interviews in periodical publications, and the recently widely revived newspaper obituary column (Starck). Adult and community education organisations run short courses on researching and writing auto/biographical forms and, across Western countries, the family history/genealogy sections of many local, state, and national libraries have been upgraded to meet the increasing demand for these services. Academically, journals and e-mail discussion lists have been established on the topics of biography and autobiography, and North American, British, and Australian universities offer undergraduate and postgraduate courses in life writing. The commonly aired wisdom is that published life writing in its many text-based forms (biography, autobiography, memoir, diaries, and collections of personal letters) is enjoying unprecedented popularity. It is our purpose to examine this proposition. Methodological problems There are a number of problems involved in investigating genre popularity, growth, and decline in publishing. Firstly, it is not easy to gain access to detailed statistics, which are usually only available within the industry. Secondly, it is difficult to ascertain how publishing statistics are gathered and what they report (Eliot). There is the question of whether bestselling booklists reflect actual book sales or are manipulated marketing tools (Miller), although the move from surveys of booksellers to electronic reporting at point of sale in new publishing lists such as BookScan will hopefully obviate this problem. Thirdly, some publishing lists categorise by subject and form, some by subject only, and some do not categorise at all. This means that in any analysis of these statistics, a decision has to be made whether to use the publishing list’s system or impose a different mode. If the publishing list is taken at face value, the question arises of whether to use categorisation by form or by subject. Fourthly, there is the bedeviling issue of terminology. Traditionally, there reigned a simple dualism in the terminology applied to forms of telling the true story of an actual life: biography and autobiography. Publishing lists that categorise their books, such as BookScan, have retained it. But with postmodern recognition of the presence of the biographer in a biography and of the presence of other subjects in an autobiography, the dichotomy proves false. There is the further problem of how to categorise memoirs, diaries, and letters. In the academic arena, the term “life writing” has emerged to describe the field as a whole. Within the genre of life writing, there are, however, still recognised sub-genres. Academic definitions vary, but generally a biography is understood to be a scholarly study of a subject who is not the writer; an autobiography is the story of a entire life written by its subject; while a memoir is a segment or particular focus of that life told, again, by its own subject. These terms are, however, often used interchangeably even by significant institutions such the USA Library of Congress, which utilises the term “biography” for all. Different commentators also use differing definitions. Hamilton uses the term “biography” to include all forms of life writing. Donaldson discusses how the term has been co-opted to include biographies of place such as Peter Ackroyd’s London: The Biography (2000) and of things such as Lizzie Collingham’s Curry: A Biography (2005). This reflects, of course, a writing/publishing world in which non-fiction stories of places, creatures, and even foodstuffs are called biographies, presumably in the belief that this will make them more saleable. The situation is further complicated by the emergence of hybrid publishing forms such as, for instance, the “memoir-with-recipes” or “food memoir” (Brien, Rutherford and Williamson). Are such books to be classified as autobiography or put in the “cookery/food & drink” category? We mention in passing the further confusion caused by novels with a subtitle of The Biography such as Virginia Woolf’s Orlando. The fifth methodological problem that needs to be mentioned is the increasing globalisation of the publishing industry, which raises questions about the validity of the majority of studies available (including those cited herein) which are nationally based. Whether book sales reflect what is actually read (and by whom), raises of course another set of questions altogether. Methodology In our exploration, we were fundamentally concerned with two questions. Is life writing as popular as claimed? And, if it is, is this a new phenomenon? To answer these questions, we examined a range of available sources. We began with the non-fiction bestseller lists in Publishers Weekly (a respected American trade magazine aimed at publishers, librarians, booksellers, and literary agents that claims to be international in scope) from their inception in 1912 to the present time. We hoped that this data could provide a longitudinal perspective. The term bestseller was coined by Publishers Weekly when it began publishing its lists in 1912; although the first list of popular American books actually appeared in The Bookman (New York) in 1895, based itself on lists appearing in London’s The Bookman since 1891 (Bassett and Walter 206). The Publishers Weekly lists are the best source of longitudinal information as the currently widely cited New York Times listings did not appear till 1942, with the Wall Street Journal a late entry into the field in 1994. We then examined a number of sources of more recent statistics. We looked at the bestseller lists from the USA-based Amazon.com online bookseller; recent research on bestsellers in Britain; and lists from Nielsen BookScan Australia, which claims to tally some 85% or more of books sold in Australia, wherever they are published. In addition to the reservations expressed above, caveats must be aired in relation to these sources. While Publishers Weekly claims to be an international publication, it largely reflects the North American publishing scene and especially that of the USA. Although available internationally, Amazon.com also has its own national sites—such as Amazon.co.uk—not considered here. It also caters to a “specific computer-literate, credit-able clientele” (Gutjahr: 219) and has an unashamedly commercial focus, within which all the information generated must be considered. In our analysis of the material studied, we will use “life writing” as a genre term. When it comes to analysis of the lists, we have broken down the genre of life writing into biography and autobiography, incorporating memoir, letters, and diaries under autobiography. This is consistent with the use of the terminology in BookScan. Although we have broken down the genre in this way, it is the overall picture with regard to life writing that is our concern. It is beyond the scope of this paper to offer a detailed analysis of whether, within life writing, further distinctions should be drawn. Publishers Weekly: 1912 to 2006 1912 saw the first list of the 10 bestselling non-fiction titles in Publishers Weekly. It featured two life writing texts, being headed by an autobiography, The Promised Land by Russian Jewish immigrant Mary Antin, and concluding with Albert Bigelow Paine’s six-volume biography, Mark Twain. The Publishers Weekly lists do not categorise non-fiction titles by either form or subject, so the classifications below are our own with memoir classified as autobiography. In a decade-by-decade tally of these listings, there were 3 biographies and 20 autobiographies in the lists between 1912 and 1919; 24 biographies and 21 autobiographies in the 1920s; 13 biographies and 40 autobiographies in the 1930s; 8 biographies and 46 biographies in the 1940s; 4 biographies and 14 autobiographies in the 1950s; 11 biographies and 13 autobiographies in the 1960s; 6 biographies and 11 autobiographies in the 1970s; 3 biographies and 19 autobiographies in the 1980s; 5 biographies and 17 autobiographies in the 1990s; and 2 biographies and 7 autobiographies from 2000 up until the end of 2006. See Appendix 1 for the relevant titles and authors. Breaking down the most recent figures for 1990–2006, we find a not radically different range of figures and trends across years in the contemporary environment. The validity of looking only at the top ten books sold in any year is, of course, questionable, as are all the issues regarding sources discussed above. But one thing is certain in terms of our inquiry. There is no upwards curve obvious here. If anything, the decade break-down suggests that sales are trending downwards. This is in keeping with the findings of Michael Korda, in his history of twentieth-century bestsellers. He suggests a consistent longitudinal picture across all genres: In every decade, from 1900 to the end of the twentieth century, people have been reliably attracted to the same kind of books […] Certain kinds of popular fiction always do well, as do diet books […] self-help books, celebrity memoirs, sensationalist scientific or religious speculation, stories about pets, medical advice (particularly on the subjects of sex, longevity, and child rearing), folksy wisdom and/or humour, and the American Civil War (xvii). Amazon.com since 2000 The USA-based Amazon.com online bookselling site provides listings of its own top 50 bestsellers since 2000, although only the top 14 bestsellers are recorded for 2001. As fiction and non-fiction are not separated out on these lists and no genre categories are specified, we have again made our own decisions about what books fall into the category of life writing. Generally, we erred on the side of inclusion. (See Appendix 2.) However, when it came to books dealing with political events, we excluded books dealing with specific aspects of political practice/policy. This meant excluding books on, for instance, George Bush’s so-called ‘war on terror,’ of which there were a number of bestsellers listed. In summary, these listings reveal that of the top 364 books sold by Amazon from 2000 to 2007, 46 (or some 12.6%) were, according to our judgment, either biographical or autobiographical texts. This is not far from the 10% of the 1912 Publishers Weekly listing, although, as above, the proportion of bestsellers that can be classified as life writing varied dramatically from year to year, with no discernible pattern of peaks and troughs. This proportion tallied to 4% auto/biographies in 2000, 14% in 2001, 10% in 2002, 18% in 2003 and 2004, 4% in 2005, 14% in 2006 and 20% in 2007. This could suggest a rising trend, although it does not offer any consistent trend data to suggest sales figures may either continue to grow, or fall again, in 2008 or afterwards. Looking at the particular texts in these lists (see Appendix 2) also suggests that there is no general trend in the popularity of life writing in relation to other genres. For instance, in these listings in Amazon.com, life writing texts only rarely figure in the top 10 books sold in any year. So rarely indeed, that from 2001 there were only five in this category. In 2001, John Adams by David McCullough was the best selling book of the year; in 2003, Hillary Clinton’s autobiographical Living History was 7th; in 2004, My Life by Bill Clinton reached number 1; in 2006, Nora Ephron’s I Feel Bad About My Neck: and Other Thoughts on Being a Woman was 9th; and in 2007, Ishmael Beah’s discredited A Long Way Gone: Memoirs of a Boy Soldier came in at 8th. Apart from McCulloch’s biography of Adams, all the above are autobiographical texts, while the focus on leading political figures is notable. Britain: Feather and Woodbridge With regard to the British situation, we did not have actual lists and relied on recent analysis. John Feather and Hazel Woodbridge find considerably higher levels for life writing in Britain than above with, from 1998 to 2005, 28% of British published non-fiction comprising autobiography, while 8% of hardback and 5% of paperback non-fiction was biography (2007). Furthermore, although Feather and Woodbridge agree with commentators that life writing is currently popular, they do not agree that this is a growth state, finding the popularity of life writing “essentially unchanged” since their previous study, which covered 1979 to the early 1990s (Feather and Reid). Australia: Nielsen BookScan 2006 and 2007 In the Australian publishing industry, where producing books remains an ‘expensive, risky endeavour which is increasingly market driven’ (Galligan 36) and ‘an inherently complex activity’ (Carter and Galligan 4), the most recent Australian Bureau of Statistics figures reveal that the total numbers of books sold in Australia has remained relatively static over the past decade (130.6 million in the financial year 1995–96 and 128.8 million in 2003–04) (ABS). During this time, however, sales volumes of non-fiction publications have grown markedly, with a trend towards “non-fiction, mass market and predictable” books (Corporall 41) resulting in general non-fiction sales in 2003–2004 outselling general fiction by factors as high as ten depending on the format—hard- or paperback, and trade or mass market paperback (ABS 2005). However, while non-fiction has increased in popularity in Australia, the same does not seem to hold true for life writing. Here, in utilising data for the top 5,000 selling non-fiction books in both 2006 and 2007, we are relying on Nielsen BookScan’s categorisation of texts as either biography or autobiography. In 2006, no works of life writing made the top 10 books sold in Australia. In looking at the top 100 books sold for 2006, in some cases the subjects of these works vary markedly from those extracted from the Amazon.com listings. In Australia in 2006, life writing makes its first appearance at number 14 with convicted drug smuggler Schapelle Corby’s My Story. This is followed by another My Story at 25, this time by retired Australian army chief, Peter Cosgrove. Jonestown: The Power and Myth of Alan Jones comes in at 34 for the Australian broadcaster’s biographer Chris Masters; the biography, The Innocent Man by John Grisham at 38 and Li Cunxin’s autobiographical Mao’s Last Dancer at 45. Australian Susan Duncan’s memoir of coping with personal loss, Salvation Creek: An Unexpected Life makes 50; bestselling USA travel writer Bill Bryson’s autobiographical memoir of his childhood The Life and Times of the Thunderbolt Kid 69; Mandela: The Authorised Portrait by Rosalind Coward, 79; and Joanne Lees’s memoir of dealing with her kidnapping, the murder of her partner and the justice system in Australia’s Northern Territory, No Turning Back, 89. These books reveal a market preference for autobiographical writing, and an almost even split between Australian and overseas subjects in 2006. 2007 similarly saw no life writing in the top 10. The books in the top 100 sales reveal a downward trend, with fewer titles making this band overall. In 2007, Terri Irwin’s memoir of life with her famous husband, wildlife warrior Steve Irwin, My Steve, came in at number 26; musician Andrew Johns’s memoir of mental illness, The Two of Me, at 37; Ayaan Hirst Ali’s autobiography Infidel at 39; John Grogan’s biography/memoir, Marley and Me: Life and Love with the World’s Worst Dog, at 42; Sally Collings’s biography of the inspirational young survivor Sophie Delezio, Sophie’s Journey, at 51; and Elizabeth Gilbert’s hybrid food, self-help and travel memoir, Eat, Pray, Love: One Woman’s Search for Everything at 82. Mao’s Last Dancer, published the year before, remained in the top 100 in 2007 at 87. When moving to a consideration of the top 5,000 books sold in Australia in 2006, BookScan reveals only 62 books categorised as life writing in the top 1,000, and only 222 in the top 5,000 (with 34 titles between 1,000 and 1,999, 45 between 2,000 and 2,999, 48 between 3,000 and 3,999, and 33 between 4,000 and 5,000). 2007 shows a similar total of 235 life writing texts in the top 5,000 bestselling books (75 titles in the first 1,000, 27 between 1,000 and 1,999, 51 between 2,000 and 2,999, 39 between 3,000 and 3,999, and 43 between 4,000 and 5,000). In both years, 2006 and 2007, life writing thus not only constituted only some 4% of the bestselling 5,000 titles in Australia, it also showed only minimal change between these years and, therefore, no significant growth. Conclusions Our investigation using various instruments that claim to reflect levels of book sales reveals that Western readers’ willingness to purchase published life writing has not changed significantly over the past century. We find no evidence of either a short, or longer, term growth or boom in sales in such books. Instead, it appears that what has been widely heralded as a new golden age of life writing may well be more the result of an expanded understanding of what is included in the genre than an increased interest in it by either book readers or publishers. What recent years do appear to have seen, however, is a significantly increased interest by public commentators, critics, and academics in this genre of writing. We have also discovered that the issue of our current obsession with the lives of others tends to be discussed in academic as well as popular fora as if what applies to one sub-genre or production form applies to another: if biography is popular, then autobiography will also be, and vice versa. If reality television programming is attracting viewers, then readers will be flocking to life writing as well. Our investigation reveals that such propositions are questionable, and that there is significant research to be completed in mapping such audiences against each other. This work has also highlighted the difficulty of separating out the categories of written texts in publishing studies, firstly in terms of determining what falls within the category of life writing as distinct from other forms of non-fiction (the hybrid problem) and, secondly, in terms of separating out the categories within life writing. Although we have continued to use the terms biography and autobiography as sub-genres, we are aware that they are less useful as descriptors than they are often assumed to be. In order to obtain a more complete and accurate picture, publishing categories may need to be agreed upon, redefined and utilised across the publishing industry and within academia. This is of particular importance in the light of the suggestions (from total sales volumes) that the audiences for books are limited, and therefore the rise of one sub-genre may be directly responsible for the fall of another. Bair argues, for example, that in the 1980s and 1990s, the popularity of what she categorises as memoir had direct repercussions on the numbers of birth-to-death biographies that were commissioned, contracted, and published as “sales and marketing staffs conclude[d] that readers don’t want a full-scale life any more” (17). Finally, although we have highlighted the difficulty of using publishing statistics when there is no common understanding as to what such data is reporting, we hope this study shows that the utilisation of such material does add a depth to such enquiries, especially in interrogating the anecdotal evidence that is often quoted as data in publishing and other studies. Appendix 1 Publishers Weekly listings 1990–1999 1990 included two autobiographies, Bo Knows Bo by professional athlete Bo Jackson (with Dick Schaap) and Ronald Reagan’s An America Life: An Autobiography. In 1991, there were further examples of life writing with unimaginative titles, Me: Stories of My Life by Katherine Hepburn, Nancy Reagan: The Unauthorized Biography by Kitty Kelley, and Under Fire: An American Story by Oliver North with William Novak; as indeed there were again in 1992 with It Doesn’t Take a Hero: The Autobiography of Norman Schwarzkopf, Sam Walton: Made in America, the autobiography of the founder of Wal-Mart, Diana: Her True Story by Andrew Morton, Every Living Thing, yet another veterinary outpouring from James Herriot, and Truman by David McCullough. In 1993, radio shock-jock Howard Stern was successful with the autobiographical Private Parts, as was Betty Eadie with her detailed recounting of her alleged near-death experience, Embraced by the Light. Eadie’s book remained on the list in 1994 next to Don’t Stand too Close to a Naked Man, comedian Tim Allen’s autobiography. Flag-waving titles continue in 1995 with Colin Powell’s My American Journey, and Miss America, Howard Stern’s follow-up to Private Parts. 1996 saw two autobiographical works, basketball superstar Dennis Rodman’s Bad as I Wanna Be and figure-skater, Ekaterina Gordeeva’s (with EM Swift) My Sergei: A Love Story. In 1997, Diana: Her True Story returns to the top 10, joining Frank McCourt’s Angela’s Ashes and prolific biographer Kitty Kelly’s The Royals, while in 1998, there is only the part-autobiography, part travel-writing A Pirate Looks at Fifty, by musician Jimmy Buffet. There is no biography or autobiography included in either the 1999 or 2000 top 10 lists in Publishers Weekly, nor in that for 2005. In 2001, David McCullough’s biography John Adams and Jack Welch’s business memoir Jack: Straight from the Gut featured. In 2002, Let’s Roll! Lisa Beamer’s tribute to her husband, one of the heroes of 9/11, written with Ken Abraham, joined Rudolph Giuliani’s autobiography, Leadership. 2003 saw Hillary Clinton’s autobiography Living History and Paul Burrell’s memoir of his time as Princess Diana’s butler, A Royal Duty, on the list. In 2004, it was Bill Clinton’s turn with My Life. In 2006, we find John Grisham’s true crime (arguably a biography), The Innocent Man, at the top, Grogan’s Marley and Me at number three, and the autobiographical The Audacity of Hope by Barack Obama in fourth place. Appendix 2 Amazon.com listings since 2000 In 2000, there were only two auto/biographies in the top Amazon 50 bestsellers with Lance Armstrong’s It’s Not about the Bike: My Journey Back to Life about his battle with cancer at 20, and Dave Eggers’s self-consciously fictionalised memoir, A Heartbreaking Work of Staggering Genius at 32. In 2001, only the top 14 bestsellers were recorded. At number 1 is John Adams by David McCullough and, at 11, Jack: Straight from the Gut by USA golfer Jack Welch. In 2002, Leadership by Rudolph Giuliani was at 12; Master of the Senate: The Years of Lyndon Johnson by Robert Caro at 29; Portrait of a Killer: Jack the Ripper by Patricia Cornwell at 42; Blinded by the Right: The Conscience of an Ex-Conservative by David Brock at 48; and Louis Gerstner’s autobiographical Who Says Elephants Can’t Dance: Inside IBM’s Historic Turnaround at 50. In 2003, Living History by Hillary Clinton was 7th; Benjamin Franklin: An American Life by Walter Isaacson 14th; Dereliction of Duty: The Eyewitness Account of How President Bill Clinton Endangered America’s Long-Term National Security by Robert Patterson 20th; Under the Banner of Heaven: A Story of Violent Faith by Jon Krakauer 32nd; Leap of Faith: Memoirs of an Unexpected Life by Queen Noor of Jordan 33rd; Kate Remembered, Scott Berg’s biography of Katharine Hepburn, 37th; Who’s your Caddy?: Looping for the Great, Near Great and Reprobates of Golf by Rick Reilly 39th; The Teammates: A Portrait of a Friendship about a winning baseball team by David Halberstam 42nd; and Every Second Counts by Lance Armstrong 49th. In 2004, My Life by Bill Clinton was the best selling book of the year; American Soldier by General Tommy Franks was 16th; Kevin Phillips’s American Dynasty: Aristocracy, Fortune and the Politics of Deceit in the House of Bush 18th; Timothy Russert’s Big Russ and Me: Father and Son. Lessons of Life 20th; Tony Hendra’s Father Joe: The Man who Saved my Soul 23rd; Ron Chernow’s Alexander Hamilton 27th; Cokie Roberts’s Founding Mothers: The Women Who Raised our Nation 31st; Kitty Kelley’s The Family: The Real Story of the Bush Dynasty 42nd; and Chronicles, Volume 1 by Bob Dylan was 43rd. In 2005, auto/biographical texts were well down the list with only The Year of Magical Thinking by Joan Didion at 45 and The Glass Castle: A Memoir by Jeanette Walls at 49. In 2006, there was a resurgence of life writing with Nora Ephron’s I Feel Bad About My Neck: and Other Thoughts on Being a Woman at 9; Grisham’s The Innocent Man at 12; Bill Buford’s food memoir Heat: an Amateur’s Adventures as Kitchen Slave, Line Cook, Pasta-Maker, and Apprentice to a Dante-Quoting Butcher in Tuscany at 23; more food writing with Julia Child’s My Life in France at 29; Immaculée Ilibagiza’s Left to Tell: Discovering God amidst the Rwandan Holocaust at 30; CNN anchor Anderson Cooper’s Dispatches from the Edge: A Memoir of War, Disasters and Survival at 43; and Isabella Hatkoff’s Owen & Mzee: The True Story of a Remarkable Friendship (between a baby hippo and a giant tortoise) at 44. In 2007, Ishmael Beah’s discredited A Long Way Gone: Memoirs of a Boy Soldier came in at 8; Walter Isaacson’s Einstein: His Life and Universe 13; Ayaan Hirst Ali’s autobiography of her life in Muslim society, Infidel, 18; The Reagan Diaries 25; Jesus of Nazareth by Pope Benedict XVI 29; Mother Teresa: Come be my Light 36; Clapton: The Autobiography 40; Tina Brown’s The Diana Chronicles 45; Tony Dungy’s Quiet Strength: The Principles, Practices & Priorities of a Winning Life 47; and Daniel Tammet’s Born on a Blue Day: Inside the Extraordinary Mind of an Autistic Savant at 49. Acknowledgements A sincere thank you to Michael Webster at RMIT for assistance with access to Nielsen BookScan statistics, and to the reviewers of this article for their insightful comments. Any errors are, of course, our own. References Australian Broadcasting Commission (ABC). “About Us.” Australian Story 2008. 1 June 2008. ‹http://www.abc.net.au/austory/aboutus.htm>. 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