We are delighted to bring you another three-part guest post series this summer. Seraphima Kennedy, a PhD candidate at Goldsmiths, reviews aspects of the 2014 IABA conference in Banff.
Conference for the International Association for Biography and Autobiography (IABA)
Auto/biography in Transit
May 29-June 1, 2014
Banff Centre, Alberta, Canada
‘Autobiography in Transit’ and Theory on the Front Line: How IABA 2014 is Sounding out New Depths in Life Writing Scholarship
Canada! Migration! Being and illness! Ethics, artists, comics! The ninth international conference for the International Association for Biography and Autobiography took place from 29 May – 1st June at the Banff Centre for the Arts, Canada, its mission to investigate all things Life Writing-related. Seraphima Kennedy swapped Goldsmiths for the Canadian Rockies to report back.
Ever seen a bear being paintballed out of a national park? An elk swimming across a river? Deer leaping across the path on your morning run? Delegates got more than they bargained for at the at the IABA 2014 conference at the Banff Centre for the Arts in Alberta, a multidisciplinary institution in a spectacular setting surrounded by ice-capped mountains, fast-flowing rivers and seemingly endless grasslands. The conference programme was packed with some of the biggest names in contemporary life writing scholarship and practice. In a series of three guest posts, I will outline some of the key developments in the field, while focusing on a couple of papers in detail which may be of interest to OCLW readers.
The topic of the conference, organized by Eva Karpinski, Laurie McNeill, Julie Rak and Linda Warley, was ‘Autobiography in Transit.’ Papers were invited on transit and transition as ways of interrogating how lives, narratives and other forms of self-representation are constantly in motion. Over three days delegates attended to a range of questions concerning the practice and critique of auto/biography, representation and transits of the self, and new methodologies of reading. Uniquely the conference also created a high-voltage opportunity for new scholars and graduate students to engage with expert mentors, through a dedicated workshop with contributions from Sidonie Smith, Alfred Hornung, Craig Howes, Rocio Davis, and many others who were on hand to offer advice to early career researchers in the field of life writing publishing.
The conference proper began with a blessing from Elder Tom Crane Bear, caretaker of the land and a member of the Siksika nation. ‘We came up through the southwest where the chockecherries grow,’ he said, speaking about the journey of his people, the Blackfoots. Ideas of lives in transit, of movement both between and within life stories, were central to the conversations scholars would go on to have over the next few days during panels on Theorizing Human Rights, Representing Islam, Digital Futures, Nineteenth-Century Women’s Narratives, Neoliberal Stories, and Comics and Justice, among many others.
In her keynote address ‘Memoir, Blog, and Selfie: Genre as Social Action in Autobiographical Representations,’ Carolyn Miller treated the audience to a history of the self-referential portrait, linking genre expectations, social structures and Lejeune’s ‘autobiographical pact’ with James Frey, Oprah, and the ‘fifteen types of selfie.’ Could selfies be seen as a form of life writing? A lively debate set the tone for a stimulating and at times controversial three days, while the Twitter-sphere saw the emergence of a new kind of selfie – the ‘IABA 2014 selfie.’ This proved a popular genre among assembled scholars, and provided much entertainment over the course of the conference (look for #iaba2014selfie on Twitter, or scroll through #iaba2014 to see some of the best of these).
Elder Tom’s novelistic turn of phrase also pointed to an awareness of the links between critical theory and creative practice. This was reflected in the foregrounding of creative writers in the Life Writers Reading Series: Patrick Lane, Sharon Proulx-Turner and Fred Wah all gave stellar readings and keynotes that called into question the links between political and personal, national and international, domestic and public.
Sharron Proulx-Turner was generously sponsored by the journal a/b: auto/biography studies and Patrick Lane appeared courtesy of the Writer’s Union, bringing two of the finest voices in Canadian literature into the conference fold. The first day of the conference ended with a drinks reception in the stunning Tom Crane Bear Hall of the Max Bell Building, with views of the sun setting over the glorious Rocky Mountains. Métis poet Sharron read from a series of poems including ‘A Houseful of Birds,’ before talking about sealed records and the legacy of Canada’s Residential School system. ‘There was another story there,’ she read, ‘where a girl opened her mouth and inside was the universe.’ Sharron was a compelling speaker about the impact of trauma on her own writing, her methods of using autobiographical material, and a compassionate and singular presence throughout the rest of the conference.
Patrick Lane was just as frank with his discussion of the uses of autobiography, the writing process, fear of failure and his decision to start writing. Hinting at a combination of memory, experience and sense, writing for Lane was bound up with affect: ‘I can still feel those dark mountains, they rose like morning clothes from Kootenay lake.’ Somehow the act of writing coexisted with the fear of erasure, an awareness of not being fully represented: ‘’Canada did not exist, and neither did I. I wanted to exist,’ he said. These were powerful, intimate readings, highlighting some of the faultlines inherent in the theorization of writing about the self that would be plotted over the next two days. And, as Lane acknowledged, this was why we were there. ‘You guys are the academics,’ he said. ‘I’m just a writer.’
Next week: Leigh Gilmore on ‘Getting a handle on pain,’ Fred Wah on hyphens and the swinging door, Julia Watson on comics and justice.
Seraphima Kennedy is a writer and final year Ph.D candidate in Creative and Life Writing at Goldsmiths, University of London where she is also a Visiting Tutor in Creative Writing. Her practice-based research focuses on contemporary memoir and autobiography, with a particular focus on adoption memoirs. Seraphima writes poetry, fiction and life writing, and is currently writing her first novel.