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    <title>Slate Magazine - Memoir Week</title>
    <link>http://www.slate.com/id/2162665/?from=rss</link>
    <description>The stories we tell about ourselves.</description>
    <copyright>2008 Washingtonpost.Newsweek Interactive Co. LLC</copyright>
    <language>en-us</language>
    <pubDate>Fri, 30 Mar 2007 07:32:16 EST</pubDate>
    <lastBuildDate>Fri, 30 Mar 2007 07:32:16 EST</lastBuildDate>
    <ttl>120</ttl>
    
    <item>
  <title>Ishmael Beah's A Long Way Gone, discussed.</title>
  <link>http://www.slate.com/id/2162848/entry/0/?from=rss</link>
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  <description><![CDATA[  Rehabilitating child soldiers.<br /><br />[<a href="http://www.slate.com/id/2162848/entry/0/?from=rss">more ...</a>]  ]]></description>
  <category>memoir week</category>
  <author>Elizabeth Rubin</author>
  <comments>http://fray.slate.com/discuss</comments>
  <pubDate>Fri, 30 Mar 2007 19:32:16 EST</pubDate>
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<item>
  <title>A brief history of memoir-bashing.</title>
  <link>http://www.slate.com/id/2162995/?from=rss</link>
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  <description><![CDATA[  Way, way back in the day, before memoirs lost its s, when all the memoirs that had ever been written could fit in a couple of modest bookcases, the form represented a brilliant innovation in genre. Or so it seemed to Samuel Johnson. Writing in 1759, he observed that the best kind of biography was one in which "the writer tells his own story." Such books benefited from their authors' total command of the subject, Johnson argued: "Certainty of knowledge not only excludes mistake, but fortifies veracity. … [T]hat which is fully known cannot be falsified but with reluctance of understanding, and alarm of conscience." (Dr. Johnson, meet Mr. Frey.)<br /><br />[<a href="http://www.slate.com/id/2162995/?from=rss">more ...</a>]  ]]></description>
  <category>memoir week</category>
  <author>Ben Yagoda</author>
  <comments>http://fray.slate.com/discuss</comments>
  <pubDate>Fri, 30 Mar 2007 17:43:06 EST</pubDate>
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  <title>Memoir Week at Slate.</title>
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  <description><![CDATA[  Welcome to Memoir Week at Slate. Over the next three days, our critics will be weighing in on new memoirs. What has been most striking to us at Slate is how many memoirs these days are anything but coming-of-age stories; instead, they tackle issues and subjects larger than the self. Elizabeth Rubin and Mike Vazquez dissect the story of Ishmael Beah, who became a child soldier in Sierra Leone at the age of 12. Ann Hulbert looks at two memoirs about autism and asks why autism has become a metaphor for our times. Stephen Metcalf studies the scarlet history of the biography. Jess Row returns to Maxine Hong Kingston's The Woman Warrior to see how this seminal memoir holds up. And Meghan O'Rourke and Dan Chiasson discuss the role of autobiography in poetry 40 years after Robert Lowell and Sylvia Plath helped start a vogue in confessional poetry.<br /><br />[<a href="http://www.slate.com/id/2162677/?from=rss">more ...</a>]  ]]></description>
  <category>memoir week</category>
  <comments>http://fray.slate.com/discuss</comments>
  <pubDate>Fri, 30 Mar 2007 13:05:19 EST</pubDate>
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  <title>How to write about the dead.</title>
  <link>http://www.slate.com/id/2162678/?from=rss</link>
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  <description><![CDATA[  The other week, Slate posed the following question to a group of memoir writers: How do you choose to alert people who appear in your books that you are writing about them—or do you not alert them at all? If you do, do you discuss the book with family members and friends while the work is in progress? How do you deal with complaints from people who may remember events differently than you?<br /><br />[<a href="http://www.slate.com/id/2162678/?from=rss">more ...</a>]<!--AD BEGIN--><br clear="all" /><a href="http://ad.doubleclick.net/jump/slate.rss/politics;pos=ad9;tile=9;ad=rss;sz=479x40;ord=6810" target="_blank"><img src="http://ad.doubleclick.net/ad/slate.rss/politics;pos=ad9;tile=9;ad=rss;sz=479x40;ord=6810" border="0" vspace="5" /></a><!--AD END-->  ]]></description>
  <category>memoir week</category>
  <author>Allen Shawn</author>
  <comments>http://fray.slate.com/discuss</comments>
  <pubDate>Thu, 29 Mar 2007 13:51:37 EST</pubDate>
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<item>
  <title>How I wrote my family exposé.</title>
  <link>http://www.slate.com/id/2162404/?from=rss</link>
  <guid isPermaLink="true">http://www.slate.com/id/2162404/?from=rss</guid>
  <description><![CDATA[  The other week, Slate posed the following question to a group of memoir writers: How do you choose to alert people who appear in your books that you are writing about them—or do you not alert them at all? If you do, do you discuss the book with family members and friends while the work is in progress? How do you deal with complaints from people who may remember events differently than you?<br /><br />[<a href="http://www.slate.com/id/2162404/?from=rss">more ...</a>]  ]]></description>
  <category>memoir week</category>
  <author>Rich Cohen</author>
  <comments>http://fray.slate.com/discuss</comments>
  <pubDate>Thu, 29 Mar 2007 07:39:41 EST</pubDate>
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