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Contemporary Women's Writing 2009 3(1):64-85; doi:10.1093/cww/vpp009
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© The Author 2009. Published by Oxford University Press. All rights reserved. For permissions, please e-mail: journals.permissions@oxfordjournals.org

"Beyond the Frame": Writing a Life and Jamaica Kincaid's Family Album

Susheila Nasta

s.m.nasta@open.ac.uk

The first 150 words of the full text of this article appear below.

Like the photograph that tells us what is no longer before us, truth can only be read, if it can be read at all, in the traces of what is no longer present. (Cadava 22)

... every "I" is a fiction finally.

(Walcott 28)

Now established as one of the Caribbean's most distinguished literary voices, Jamaica Kincaid has produced enigmatic portraits of "self," "family," and "history" that are well known for blurring the lines between autobiography, fiction, non-fiction, and memoir. Mapping some recent theories of autobiography and postcolonial life-writing, this essay seeks to unravel some of the subversive aesthetic and political strategies Kincaid has invented in the past forty years to continue to write a life. Some brief biographical details might prove useful . . . [Full Text of this Article]


   Mapping the Terrain
 

   Unsettling the Terms
 

   A Series of Linked Autobiographical Tales?
 

   To Name Is to Possess16
 

   Writing Between the Lines
 

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