By Shirley MacLaine
A humorous, fierce, imaginitive memoir chronicling New York occasions bestselling writer and Academy Award winner Shirley MacLaine’s outstanding reviews filming Wild Oats in the Canary Islands and the intense thoughts her time there introduced forth of a earlier lifestyles at the misplaced continent of Atlantis.
Her agent informed her to not get at the aircraft. The male leads weren’t even solid. The financing used to be shaky at most sensible. The script were re-written numerous occasions. And but whatever approximately Wild Oats lured Shirley MacLaine to the film’s position shoot within the far away Canary Islands—and directly to the guts of 1 of the main exciting and paradigm-shifting adventures of her life.
The making of the movie reads like a screwball comedy, because the solid and workforce face unpredictable day-by-day stumbling blocks with ingenuity, grit, and private sacrifice. but the chaos leads Shirley to a revelatory new realizing of the loss of life of 1 of history’s such a lot elusive but ceaselessly interesting locations. students have lengthy theorized that Spain’s Canary Islands are the remnants of the robust misplaced continent of Atlantis. because the motion picture set descends into pandemonium, Shirley reveals attention-grabbing corollaries among the island’s cataclysmic destiny and our personal harmful trajectory. do we research the teachings the electorate of Atlantis did not comprehend?
The resolution is borne out of recovered stories from Shirley’s prior existence on Atlantis and during a chain of meditations that exhibit the need of unfettered mind's eye whilst trying to find daring new truths, rendering this evocative memoir crucial analyzing for somebody looking a broader figuring out of what it skill to be human—both the place we got here from and the place we're going.
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Extra resources for Above the Line: My Wild Oats Adventure
Of particular interest for this study is the analogy that Friedman makes between Gusdorf’s description of a culture in which autobiography is impossible and what she calls the ‘marginalised cultures of women’, a type of culture without the elements Gusdorf considers to be the necessary preconditions for autobiography, a culture in which the individual does not oppose himself to all others; [in which] he does not feel himself to exist outside of others, and still less against others, but very much with others in an interdependent existence that asserts its rhythms everywhere in the community […in which] lives are so thoroughly entangled that each of them has its center everywhere and its circumference nowhere.
This returns us crucially to Weintraub’s distinction between individualism as a conception of the ideal relation between the individual and society, and the personality conception of individuality. Women’s autobiographical practices, like the postcolonial practices under analysis here, seem to explore the social conception of individualism. The ‘I’ does not necessarily ‘represent’ a ‘we’, but is often a vehicle to explore the relation between the ‘I’ and that ‘we’. Gusdorf, as we have seen, calls the Western male ‘gatherer of men, of lands, of power, maker of kingdoms or of empires’.
Autobiography is a mode of writing that constantly reinvents itself and whose basic premise is that of self-questioning, not only of the subjectivity under investigation, but of the very forms in which that investigation may take place. POSTCOLONIAL STUDIES, THE POSTCOLONIAL SUBJECT AND MOTIVATED READING STRATEGIES The struggle for the power to name oneself and one’s state is enacted fundamentally within words, most especially in colonial situations. 62 Among the assumptions that have been referred to above is the underlying assumption among many French critics that the French school and the French language are forces for good, providing the tools that enable Auto & Ind pages rev again 1/2/05 4:27 PM Page 33 Life/Writing in the Colonial and Postcolonial Contexts 33 a kind of liberation through language (French as the language of selfhood, as Déjeux declares it).