Autobiography

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Adrienne Truscott by Erin Markey
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The performers consider memory, autobiography, and stand-up in Truscott’s groundbreaking comedy about rape, Asking for It, showing this November at NYU’s Skirball Center.

The Endorithm 3 by Keith Connolly
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In the spirit of all Augusts, endured and half-remembered, some music-memory beach reading from two parallel realities.

Arrogant Class Renegade by Daniel Lefferts
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Sexual awakening amid poverty and violence in Édouard Louis’s The End of Eddy

Sophie Calle’s Rachel Monique by Jennifer Krasinski
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As her mother, Monique Sindler, lay dying, the artist Sophie Calle put a camera at her bedside in order to record her last words. Having always wished to be a part of her daughter’s work, her mother responded: “Finally!”

Stephin Merritt by Franklin Bruno
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The prolific New York lyricist digs into songcraft on the occasion of his new autobiographical album, 50 Song Memoir.

Con Auto Gens by Laura Elrick

Around certain clusters of the dead, almost magnetically, a vortex of opacity gathers in the record. 

The Villain Is the 20th Century by William Corwin
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With I Had Nowhere to Go, director Douglas Gordon brings the diary of filmmaker and poet Jonas Mekas into contact with our own reveries.

Body Party by Andrew Durbin
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On Robert Glück’s Communal Nude

Maggie Nelson by A.L. Steiner
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“What expression isn’t a negotiation of some sort?”

Philip Glass’s Words Without Music: A Memoir by Michael Coffey
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Words Without Music is a sustained performance with fascinating scenes and a lucid text.

from Where the Bird Sings Best by Alejandro Jodorowsky
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In those good old days, Salvador Arcavi, the first of a long series of Salvadors—traditionally all his descendants had the same name—though respectful of the Holy Book, decided he was not to going to be a prisoner to its letters.

Pierre Guyotat by Noura Wedell
Pierre Guyotat

The French writer speaks to his translator about his latest autobiographical novel to appear in English. Titled In the Deep, it deals with the link between desire and his early literary output, as well as the effect of his Catholic upbringing and World War II on his imagination.

Moyra Davey by Elisabeth Lebovici
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Prior to Burn the Diaries, her exhibition at the ICA Philadelphia this fall, Davey exchanged thoughts with Paris-based writer Lebovici on autobiographical writing, the formal potential of aerograms, and scatological confessionalism.

I Can No Longer Hear The Guitar by Nicholas Elliott
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On the intricate emotional architecture of Philippe Garrel’s autobiographical classic, based on his own romance with legendary chanteuse Nico.

David Shapiro by John Haskell
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 David Shapiro, whose show Money Is No Object was on view at the Sue Scott Gallery this spring, has created a group of vellum scrolls on which he has placed the bills and receipts and ticket stubs he’s collected over the course of a year. 

Tristan Garcia by Sandra Laugier
Tristan Garcia

Paris-based novelist Tristan Garcia, a philosopher by training, speaks with another philosopher, Sandra Laugier, about how ideas, ethics, and sex get entangled through the vivid characters in his first novel, Hate: A Romance.

José Antonio Suárez Londoño: Portfolio by Luis Enrique Perez Oramas
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This First Proof contains a portfolio of three sketchbook pages of José Antonio Suárez Londoño.

Margo Glantz by Álvaro Enrigue
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That dinner party was unforgettable: there was an abundance of very proper and elegant guests, seated in the living room with coffee and desserts, when suddenly the dogs burst in like a gale. 

Feelings are Facts by Yvonne Rainer

In December 1964 Dick Higgins produced an opera, Hruslk, at the Cafe au Go Go. 

Noah Baumbach by Jonathan Lethem
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These two New York natives discuss growing up in Brooklyn, the allure of the of the Museum of Natural History, and the perils of the autobiographical question in this instant classic from 2005.

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