Miriam Fuchs, Life Writing, and Life

Abstract

Miriam Fuchs, Life Writing, and Life Craig Howes (bio) Others contributors to this collection will movingly and accurately capture what Miriam was like as a coeditor, coauthor, crew member, and dear friend. Except for the paddling, I knew her in all of these roles, but I will begin this Biography tribute with some words about her as a researcher and scholar. Her biography on the University of Hawaiʻi at Mānoa English Department website listed her principal interests as modernism and modern American literature, twentieth century women’s literature, autobiography theory and criticism, and “all modes of life writing.” Her academic journey explains how her interests became her recognized expertise. She received her BA in 1970 from SUNY Buffalo, a major center for the study of modern and contemporary literature. The title of her 1979 NYU doctoral dissertation was “‘Persistent Pattern and Significant Form’: The Conceptual and Formal Impact of The Waste Land on Selected Anti-Realistic American Novels,” and she would go on to publish essays on T. S. Eliot, William Gaddis, Nathanael West, and Hart Crane. What she soon became best known for, however, was her work on women and modernism. She published extensively on Djuna Barnes and H.D. She edited and included her own work in Marguerite Young, Our Darling: Tributes and Essays. And in 1989 she coedited with Ellen G. Friedman the collection Breaking the Sequence: Women’s Experimental Fiction. Their introduction has been called “practically a monograph” in itself, and the volume played an important role in “the continuing feminist project of the recovery and foregrounding of women writers.” This landmark collection was reprinted in 2014 by Princeton University Press as part of its Legacy Library series. In the mid-1980s, Miriam’s interest in modernism brought her to Hawaiʻi for a seminar conducted by the noted William Butler Yeats and Hart Crane scholar John Unterecker. Shortly afterwards, she resigned her associate professorship at Elizabeth Seton College and settled permanently here. For Miriam, moving to a world center for modernism studies like Honolulu after years of toiling in the literary and cultural backwater of New York City was an easy decision to make—after all, Jack Unterecker and Leon Edel had already done the same thing. But I suspect that someone named Alan Holzman probably had something to do with it as well. She [End Page 135] spent her first years as a visiting assistant professor in English at the University of Hawaiʻi at Mānoa—she always remembered who was collegial, and who was . . . otherwise. She came on the tenure track in 1989, in 1993 she was tenured and promoted early, and she became a full professor in 2003. As a lifewriting scholar, Miriam’s status is indisputable. Part of the University of Wisconsin Press’s renowned Studies in Autobiography series, her 2004 book, The Text Is Myself: Women’s Life Writing and Catastrophe, fulfilled Susanna Egan’s prophetic assessment: “Miriam Fuchs is breaking new ground. Her remarkable exploration of catastrophe writing will be important in autobiography studies and fascinating to all who care about self-representation as a mode of survival.” This book brought Miriam’s many interests together—modernism, women’s literature, autobiographical fiction, art, and Hawaiʻi and the Pacific—in her outstanding opening chapter on the diaries of Queen Liliʻuokalani, but also in the book’s dedication: “To the women paddlers—Lanikai, Kumulau, Bora Bora.” I’ll let other contributors to this tribute address the autobiographical dimensions of a book entitled The Text Is Myself, mentioning only its major theme: “however much the past may be shaped into a discernable storyline, it is the uncertain present that preoccupies these writers.” And of course, Miriam had a long and profoundly influential impact upon Biography: An Interdisciplinary Quarterly and the Center for Biographical Research. Cynthia G. Franklin offers some personal and detailed remarks on their collaborations as coeditors and friends; let me set the stage with an origin story, and a few personal notes. When I took over as editor of Biography in 1994, I asked Miriam to replace me as one of the literary editors; a year later, she was listed as “literary editor in chief...