My memoir is being published by Beaufort Books and will be available fall of 2015. Its about my unusual life as a child actor and how I made the unpopular choice to leave Hollywood, grow up, and stop pretending.
My memoir is about my time in film and the decision to leave Hollywood, grow up, and stop pretending.
My only fantasy about writing was that in my old days, after directing many masterpieces, I would write my memoirs.
I haven't written my memoirs or let the television movie be made about my life.
When Goldie Hawn wrote her memoirs, no one said Goldie Hawn was snitching. When Jane Fonda wrote her memoirs, no one said Jane Fonda was snitching.
I don't write fiction but I do write narrative; I write memoirs that I treat like stories, so whenever I'm using somebody I actually know as a model, I am submitting them to the agenda of a storyteller, and I feel free to do what I want.
Kerry Cohen's powerful, transfixing story will be familiar to many women, most of whom won't want to admit it. In this heartfelt and authentic memoir, Cohen transcends the pain and shame of a promiscuous past, and leaves readers with a sense of hope and triumph.
We all have love stories that go terribly wrong; we all have horribly broken hearts. And somehow we endure. We're not destroyed by it. We endure and go on to do interesting things and have worthy lives, even though we carry our heartbreaks with us. That's a kind of personal story of mine that I don't think I would tell in memoir but I do think I can tell in fiction.
When I became a feminist, when the movement started in the late sixties, I started writing because I had something urgent to say. My first novel, Memoirs of an Ex-Prom Queen, is the product of that urgency.
I actually find it pretty tedious when magazines ask me to write articles based on my real life, because I've already lived it and there's nothing new to discover. So, I'm unlikely to write a memoir.
A man who leaves memoirs, whether well or badly written, provided they be sincere, renders a service to future psychologists and writers, giving them not only a faithful picture, but likewise human documents that may be relied upon.
I don't read memoirs. But if you write a memoir, I would think you'd want people to know, "O.K., look, I've taken some liberties here." It's just a matter of being open with your readers.
When the publisher here in America wanted to put the word "memoir" on the title page [of 'Winter Journal'] and on the cover, I said, "No, no, no, no, no, no." No genre whatsoever. It's an independent work not really connected to those things at all.
The first book by an African American I read was Carl T. Rowan's memoir, Go South to Sorrow. I found it on the bookshelf at the back of my fifth-grade classroom, an adult book. I can remember the quality of the morning on which I read. It was a sunlit morning in January, a Saturday morning, cold, high, empty. I sat in a rectangle of sunlight, near the grate of the floor heater in the yellow bedroom. And as I read, I became aware of warmth and comfort and optimism. I was made aware of my comfort by the knowledge that others were not, are not, comforted. Carl Rowan at my age was not comforted.
Jim Grimsley's unflinching self-examination of his own boyhood racial prejudices during the era of school desegregation is one of the most compelling memoirs of recent years. Vivid, precise, and utterly honest, How I Shed My Skin is a time-machine of sorts, a reminder that our past is every bit as complex as our present, and that broad cultural changes are often intimate, personal, and idiosyncratic.
Sharona Muir has written a gripping personal memoir about her odyssey to rediscover and reclaim her father. Along the way she uncovers some hard truths about the heroic founders of Israel and the Beginnings of Israeli science. The Book of Telling keeps in all the fears and resentments and consolations and warmth of such a process-at once her own story and the tale of a nation.
Now that Mr. Carter has made a book of his diary, an adoring memoir entitled Keeping Faith, the notes read like a collection of letters sent from scout camp.
Working with somebody who has a more interesting life than I do - and getting to take on that life temporarily - is an endlessly interesting way to have the experience of writing memoir.
I think people dismiss celebrity memoirs as unreal, contrived and maybe partially made up. But that's definitely not true for anything that I write.
It's beyond the grasp of anyone's memory to recall conversations in kind of [memoir] detail. So it's fake. It's all made up.
My children haven't read 'Winter Journal'. They have read some of my work, but I really don't foist it on them. I want them to be free to discover it in their own good time. I think reading an intimate memoir by your father - or an intimate autobiographical work, whatever we want to call this thing - you have to come at it at the right moment, so I'm certainly not foisting it upon them.
At forty my faculties may have closed up like flowers at evening, leaving me unable to write my memoirs with a fitting and discreet inaccuracy, or, having written them, unable to carry them to the publisher.
If you're going to do a memoir, then it's sort of at this age - in your late sixties or seventies - that you do it. I don't understand people who do memoirs when they're 20. I think most people need a little more time than 20 years to become the person they are. In fact, that process of becoming who you are is still ongoing when you get older, where you go, "Let's see where my next 10 years is going to take me." S
autobiography at least saves a man or woman that the world is curious about from the publication of a string of mistakes called 'Memoirs.
I read a lot. I especially read memoirs and biographies. It's very helpful when you're thinking about what's possible and what exists in human behavior; if it exists out there then it can exist on the stage. I really try to go to a lot of concerts. A lot of live events. I just try to keep my ears really, really open.
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