Chapter 1 Rachel Cusk

In The New Midlife Self-Writing, Wittman treats recent self-writing by Rachel Cusk, Roxane Gay, Sarah Manguso, and Maggie Nelson, carefully situating these vital midlife works within the history of self-writing. She argues that they renew and redirect the autobiographical trajectories characteristic of earlier self-writing by switching their orientation to face the future and by celebrating midlife as growing season, a time of Bildung. In each chapter, writer-by-writer, she demonstrates how the midlife self-writers in question trace confident and future-oriented paths through the past, rejecting triumphalism and complicating both identity and individualism, just as they refine and redefine genres. Exploring these midlife self-writers as chroniclers of Generation X’s midlife in particular, Wittman coins the term "digital absence" to map their unique relationship to new forms of knowledge and knowledge gathering in an Information Age that they are both of and set apart from. She theorizes that their works share a "pedagogical style," a style characterized by clarity, exposition, and classical rhetoric, and a concern with the classroom, offering a warrant for reading them in pedagogical terms in concert with traditional scholarly approaches. Furthermore, Wittman presents readers with an overview of future midlife self-writing as well as self-writing overall, concluding that we might be looking at the scholarship of the future

Chapter 4 Maggie Nelson

In The New Midlife Self-Writing, Wittman treats recent self-writing by Rachel Cusk, Roxane Gay, Sarah Manguso, and Maggie Nelson, carefully situating these vital midlife works within the history of self-writing. She argues that they renew and redirect the autobiographical trajectories characteristic of earlier self-writing by switching their orientation to face the future and by celebrating midlife as growing season, a time of Bildung. In each chapter, writer-by-writer, she demonstrates how the midlife self-writers in question trace confident and future-oriented paths through the past, rejecting triumphalism and complicating both identity and individualism, just as they refine and redefine genres. Exploring these midlife self-writers as chroniclers of Generation X’s midlife in particular, Wittman coins the term "digital absence" to map their unique relationship to new forms of knowledge and knowledge gathering in an Information Age that they are both of and set apart from. She theorizes that their works share a "pedagogical style," a style characterized by clarity, exposition, and classical rhetoric, and a concern with the classroom, offering a warrant for reading them in pedagogical terms in concert with traditional scholarly approaches. Furthermore, Wittman presents readers with an overview of future midlife self-writing as well as self-writing overall, concluding that we might be looking at the scholarship of the future

Interwar Itineraries

How people traveled, and how people wrote about travel, changed in the interwar years. Novel technologies eased travel conditions, breeding new iterations of the colonizing gaze. The sense that another war was coming lent urgency and anxiety to the search for new places and “authentic” experiences. In Interwar Itineraries: Authenticity in Anglophone and French Travel Writing, Emily O. Wittman identifies a diverse group of writers from two languages who embarked on such quests. For these writers, authenticity was achieved through rugged adventure abroad to economically poorer destinations. Using translation theory and new approaches in travel studies and global modernisms, Wittman links and complicates the symbolic and rhetorical strategies of writers including André Gide, Ernest Hemingway, Michel Leiris, Isak Dinesen, Beryl Markham, among others, that offer insight into the high ethical stakes of travel and allow us to see in new ways how models of the authentic self are built and maintained through asymmetries of encounter

Interwar Itineraries

How people traveled, and how people wrote about travel, changed in the interwar years. Novel technologies eased travel conditions, breeding new iterations of the colonizing gaze. The sense that another war was coming lent urgency and anxiety to the search for new places and “authentic” experiences. In Interwar Itineraries: Authenticity in Anglophone and French Travel Writing, Emily O. Wittman identifies a diverse group of writers from two languages who embarked on such quests. For these writers, authenticity was achieved through rugged adventure abroad to economically poorer destinations. Using translation theory and new approaches in travel studies and global modernisms, Wittman links and complicates the symbolic and rhetorical strategies of writers including André Gide, Ernest Hemingway, Michel Leiris, Isak Dinesen, Beryl Markham, among others, that offer insight into the high ethical stakes of travel and allow us to see in new ways how models of the authentic self are built and maintained through asymmetries of encounter

A Circuit of Ordeals: Nostalgia and the Romance of Hardship in Graham Greene’s \u3cem\u3eJourney without Maps\u3c/em\u3e and Ernest Hemingway’s \u3cem\u3eGreen Hills of Africa\u3c/em\u3e

Detailed comparison study focusing on similarities in form, content, and plot in each author’s account of interwar travel in Africa. Analyzing how each draws on and extends the conventions of travel writing, Wittman discusses their autobiographical tone, views on primitivism, and one-dimensional depictions of indigenous Africans. Concludes that both authors nostalgically “lament the lost world Africa represents as well as the changing Africa that they are leaving.

Chapter 4 Maggie Nelson

In The New Midlife Self-Writing, Wittman treats recent self-writing by Rachel Cusk, Roxane Gay, Sarah Manguso, and Maggie Nelson, carefully situating these vital midlife works within the history of self-writing. She argues that they renew and redirect the autobiographical trajectories characteristic of earlier self-writing by switching their orientation to face the future and by celebrating midlife as growing season, a time of Bildung. In each chapter, writer-by-writer, she demonstrates how the midlife self-writers in question trace confident and future-oriented paths through the past, rejecting triumphalism and complicating both identity and individualism, just as they refine and redefine genres. Exploring these midlife self-writers as chroniclers of Generation X’s midlife in particular, Wittman coins the term "digital absence" to map their unique relationship to new forms of knowledge and knowledge gathering in an Information Age that they are both of and set apart from. She theorizes that their works share a "pedagogical style," a style characterized by clarity, exposition, and classical rhetoric, and a concern with the classroom, offering a warrant for reading them in pedagogical terms in concert with traditional scholarly approaches. Furthermore, Wittman presents readers with an overview of future midlife self-writing as well as self-writing overall, concluding that we might be looking at the scholarship of the future

Chapter 1 Rachel Cusk

In The New Midlife Self-Writing, Wittman treats recent self-writing by Rachel Cusk, Roxane Gay, Sarah Manguso, and Maggie Nelson, carefully situating these vital midlife works within the history of self-writing. She argues that they renew and redirect the autobiographical trajectories characteristic of earlier self-writing by switching their orientation to face the future and by celebrating midlife as growing season, a time of Bildung. In each chapter, writer-by-writer, she demonstrates how the midlife self-writers in question trace confident and future-oriented paths through the past, rejecting triumphalism and complicating both identity and individualism, just as they refine and redefine genres. Exploring these midlife self-writers as chroniclers of Generation X’s midlife in particular, Wittman coins the term "digital absence" to map their unique relationship to new forms of knowledge and knowledge gathering in an Information Age that they are both of and set apart from. She theorizes that their works share a "pedagogical style," a style characterized by clarity, exposition, and classical rhetoric, and a concern with the classroom, offering a warrant for reading them in pedagogical terms in concert with traditional scholarly approaches. Furthermore, Wittman presents readers with an overview of future midlife self-writing as well as self-writing overall, concluding that we might be looking at the scholarship of the future

Hemingway and the textual struggle of paternity

Ernest Hemingway bears the legendary reputation of a hyper-masculine hunter, drinker, and womanizer, though much criticism has sought to complicate notions of gender in the author's life and fiction. This research project considers fatherhood in particular, one aspect of masculinity that was never easily-defined for Hemingway. Hemingway's fiction frequently has autobiographical roots, and his writing reflects his own obstacles with transferring from the role of a son to the role of a father. Writing as a way "to get rid of it," as Nick Adams does in "Fathers and Sons," Hemingway wrote again and again of his conflict with being a father and being a son, but never seemed to overcome his struggles or find his separate piece. Troubled by his father's suicide, the stunted rearing of his sons, and a tumultuous relationship with his youngest, cross-dressing son Gregory, Hemingway makes fatherhood remarkably present in several texts that span the decades of his career. He was known to his friends and even the public at large as "Papa," but this identity is constantly muddled and strained in his writing. This project pursues Papa Hemingway in four texts with particularly rich paternal content: "Fathers and Sons," major sections of Islands in the Stream, "I Guess Everything Reminds You of Something," and "Great News from the Mainland." Hemingway's real-life relationships with his father and his sons were filled with hardship, confusion, and self-doubt, but the repeated reworking of father-son relationships in these texts offers the potential for healing, even if this healing is simply fiction. (Published By University of Alabama Libraries

Association of Country Income Level With the Characteristics and Outcomes of Critically Ill Patients Hospitalized With Acute Kidney Injury and COVID-19

Introduction: Acute kidney injury (AKI) has been identified as one of the most common and significant problems in hospitalized patients with COVID-19. However, studies examining the relationship between COVID-19 and AKI in low- and low-middle income countries (LLMIC) are lacking. Given that AKI is known to carry a higher mortality rate in these countries, it is important to understand differences in this population. Methods: This prospective, observational study examines the AKI incidence and characteristics of 32,210 patients with COVID-19 from 49 countries across all income levels who were admitted to an intensive care unit during their hospital stay. Results: Among patients with COVID-19 admitted to the intensive care unit, AKI incidence was highest in patients in LLMIC, followed by patients in upper-middle income countries (UMIC) and high-income countries (HIC) (53%, 38%, and 30%, respectively), whereas dialysis rates were lowest among patients with AKI from LLMIC and highest among those from HIC (27% vs. 45%). Patients with AKI in LLMIC had the largest proportion of community-acquired AKI (CA-AKI) and highest rate of in-hospital death (79% vs. 54% in HIC and 66% in UMIC). The association between AKI, being from LLMIC and in-hospital death persisted even after adjusting for disease severity. Conclusions: AKI is a particularly devastating complication of COVID-19 among patients from poorer nations where the gaps in accessibility and quality of healthcare delivery have a major impact on patient outcomes