Heidi Elisabeth Bollinger
Biographic Data
| ID | 6544573 |
|---|---|
| NAME | Heidi Elisabeth Bollinger |
| GIVEN NAMES | Heidi Elisabeth |
| FAMILY NAME | Bollinger |
| SIGNATURE | BOLLINGER H E |
| AFFILIATIONS | Hostos Community College |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 0 |
Loss Made Visible
This speculative article considers women’s graphic memoirs as a potential model for an emergent body of post-pandemic literature. Women’s graphic memoirs offer resonant possibilities for helping readers to reckon with grief because of their unique ability to make loss visible on the page. The article approaches Roz Chast’s graphic memoir Can’t We Talk About Something More Pleasant? as a pre-pandemic text that uses visual hyperbole to represent fa…
Navigating Loss in Women’s Contemporary Memoir
Amy-Katerini Prodromou’s Navigating Loss in Women’s Contemporary Memoir focuses on grief memoirs, specifically a subgenre that she calls “memoirs of textured recovery” (4). Prodromou identifies a tendency in certain women’s grief memoirs published from the 1990s to the present to “resist an explicit healing agenda” (7). Her theory of recovery as “textured,” borrowed from Jenny Diski’s Skating to Antarctica , complicates formulaic narratives of he…
What If I Don't Wanna Be White?”
This essay examines the discourse of black authenticity in Margaret Seltzer's fake memoir Love and Consequences (2008) and the author's fraudulent public performance as her narrator as a function of white privilege. Seltzer's hoax exploits stereotypes to appeal to a white middlebrow readership, demonstrating the continuing market value of black trauma
Crimes of Racial and Generic Mixing in John A. Williams’s Clifford’s Blues ”
“Crimes of Racial and Generic Mixing in John A. Williams’s Clifford’s Blues”1 Heidi Elisabeth Bollinger (bio) As systems of classification, both genre and race lend themselves to policing activities. The establishment of generic boundaries, like the legal codification of racial difference, inevitably creates anxiety about the threat of transgression. As Jacques Derrida’s seminal essay “The Law of Genre” slyly reveals, “one must not cross a line o…
Neo-Segregation Narratives
Reviewed by: Neo-Segregation Narratives: Jim Crow in Post-Civil Rights American Literature Heidi E. Bollinger (bio) Norman, Brian . Neo-Segregation Narratives: Jim Crow in Post-Civil Rights American Literature. Atlanta: U of Georgia P, 2010. Recently, one of the students in my African American Literature course remarked offhandedly, "Well, you know, there isn't racism anymore." Perhaps I should have found this declaration—from a black, male stude…
No prominent works on this page.
Neo-Segregation Narratives
Reviewed by: Neo-Segregation Narratives: Jim Crow in Post-Civil Rights American Literature Heidi E. Bollinger (bio) Norman, Brian . Neo-Segregation Narratives: Jim Crow in Post-Civil Rights American Literature. Atlanta: U of Georgia P, 2010. Recently, one of the students in my African American Literature course remarked offhandedly, "Well, you know, there isn't racism anymore." Perhaps I should have found this declaration—from a black, male stude…
Crimes of Racial and Generic Mixing in John A. Williams’s Clifford’s Blues ”
“Crimes of Racial and Generic Mixing in John A. Williams’s Clifford’s Blues”1 Heidi Elisabeth Bollinger (bio) As systems of classification, both genre and race lend themselves to policing activities. The establishment of generic boundaries, like the legal codification of racial difference, inevitably creates anxiety about the threat of transgression. As Jacques Derrida’s seminal essay “The Law of Genre” slyly reveals, “one must not cross a line o…
Navigating Loss in Women’s Contemporary Memoir
Amy-Katerini Prodromou’s Navigating Loss in Women’s Contemporary Memoir focuses on grief memoirs, specifically a subgenre that she calls “memoirs of textured recovery” (4). Prodromou identifies a tendency in certain women’s grief memoirs published from the 1990s to the present to “resist an explicit healing agenda” (7). Her theory of recovery as “textured,” borrowed from Jenny Diski’s Skating to Antarctica , complicates formulaic narratives of he…
What If I Don't Wanna Be White?”
This essay examines the discourse of black authenticity in Margaret Seltzer's fake memoir Love and Consequences (2008) and the author's fraudulent public performance as her narrator as a function of white privilege. Seltzer's hoax exploits stereotypes to appeal to a white middlebrow readership, demonstrating the continuing market value of black trauma
Loss Made Visible
This speculative article considers women’s graphic memoirs as a potential model for an emergent body of post-pandemic literature. Women’s graphic memoirs offer resonant possibilities for helping readers to reckon with grief because of their unique ability to make loss visible on the page. The article approaches Roz Chast’s graphic memoir Can’t We Talk About Something More Pleasant? as a pre-pandemic text that uses visual hyperbole to represent fa…
Art (5 works) · Literature (4 works) · Sociology (4 works) · Art history (3 works) · History (3 works) · History (3 works) · Law (3 works) · Memoir (3 works) · Political science (3 works) · Racism (3 works)