When Linda Spence asked her aging mother to write her life story, her mother stared at a blank sheet of paper and asked—“How? Where do I begin?” In this practical guide to capturing those memories that have been stored away, Linda Spence provides the questions that are the keys to unlocking the memories that make up a life.

Beyond the vital statistics are the personal stories that tell what it was like, what we did, and why we did it, how we feel about our choices, and what our circumstances were. Through encouraging coaching, shared memories, and open-ended questions, the process of producing a personal history becomes intriguing and engaging.

With Legacy the possibilities expand: a personal record is preserved—with its myths, traditions, joys, pains, gains, and losses; a family opens a potential dialogue that will last for generations; the writer has an opportunity for insight and resolution; the culture of a time and place is noted; the tradition of personal story is revitalized, and our present and future find nourishment and knowledge in the past.

Either as a gift that can act as a shared experience as the memories are recounted or as a personal way to take account of one’s experiences, often long since forgotten, Legacy is indeed a way to get one’s story down.

To succeed as an actor is a rare feat. To succeed as a deaf actor is nothing short of amazing. Lessons in Laughter is the story of Bernard Bragg and his astonishing lifelong achievements in the performing arts.

Born deaf of deaf parents, Bernard Bragg has won international renown as an actor, director, playwright, and lecturer. Lessons in Laughter recounts in stories that are humorous, painful, touching, and outrageous, the growth of his dream of using the beauty of sign language to act. He starred in his own television show “The Quiet Man,” helped found The National Theatre of the Deaf, and traveled worldwide to teach his acting methods.

Originally published in 1833, the autobiography of the Sauk war chief Black Hawk was the first memoir written by a Native American who was actively resisting US Indian removal policy. Donald Jackson edited the first scholarly version of this work—Black Hawk: An Autobiography—in 1955. Since then, the Life has become a classic and seminal text in the fields of Native American literature and studies, American history, literature, autobiography, and cultural studies.

This edition of Black Hawk’s 1833 autobiography includes explanatory, historical, and textual notes that significantly enrich the understanding of Black Hawk’s memoir, his life, and the Black Hawk War of 1832. The notes and a chronology make this key Native American text available to scholars in several new ways. Likewise, in its preface and critical essay, this edition moves beyond Jackson’s historical work to incorporate insights from numerous other disciplines that have since engaged the text. These investigations reflect the new developments in scholarship since 1955, suggest future possibilities for the crosscultural study of Black Hawk’s Life, and examine the continuity of his autobiography within Native American and other life-story traditions. This volume also includes the biographical continuation of Black Hawk’s Life—recounting subsequent events in his life until his death in 1838—written by J. B. Patterson for his 1882 reissued and expanded edition of the original autobiography.

Scholars of Native American literature and history and settler colonialism will find much to engage them in this remarkable new edition.

Lives in Play explores the centrality of life narratives to women's drama and performance from the 1970s to the present moment. In the early days of second-wave feminism, the slogan was "The personal is the political." These autobiographical and biographical "true stories" have the political impact of the real and have also helped a range of feminists tease out the more complicated aspects of gender, sex, and sexuality in a Western culture that now imagines itself to be "postfeminist."

The book covers a broad range of texts and performances, from performance artists like Karen Finley, Holly Hughes, and Bobby Baker to playwrights like Suzan-Lori Parks, Maria Irene Fornes, and Sarah Kane. The book examines biography and autobiography together to link their narrative tactics and theatrical approaches and show the persistent and important uses of life writing strategies for theater artists committed to advancing women's rights and remaking women's representations.

Lives in Play argues that these writers and artists have not only responded to the vibrant conversations in feminist theory but also have anticipated and advanced these ideas, theorizing gender onstage for specific ends. Ryan Claycomb demonstrates how these performances work through tensions between performative identity and the essentialized body, between the truth value of life stories and the constructed nature of gender and narrative alike, and between writing and performing as modes of feminist representation.

The book will appeal to scholars in performance studies, women's studies, and literature, including those in the growing field of auto/biography studies.