I'm embarrassed to say this, but I shy away from memoirs. My feeling is always that I'm saving them for later, so I guess that means I'll reach a point when I read nothing else.
Among the fables that inspired the British Admiralty's cartographic assignments to Captain James Cook in the 1770s and Captain George Vancouver in the 1790s was a 1640 account under the name of Bartholomew de Fonte that appeared in a journal with the delightful title 'The Monthly Miscellany, or Memoirs for the Curious.'
'Memoirs of a Geisha' is everything you'd expect it to be: beautiful, mesmerizing, tasteful, Japanese. It's just not very hot.
Much of my publishing life was consumed by the memoirs of movie stars - or by attempts to get them to write a memoir.
When I was nine, the teacher asked us to write a piece about our village fete. He read mine in class. I was encouraged and continued. I even wanted to write my memoirs at the age of ten. At twelve I wrote poetry, mostly about friendship - 'Ode to Friendship.' Then my class wanted to make a film, and one little boy suggested that I write the script.
The memoirs that have come out of Africa are sometimes startlingly beautiful, often urgent, and essentially life-affirming, but they are all performances of courage and honesty.
Someone asked me if I was afraid to write my memoirs. I told him: 'We have to stop drawing up accounts of fear! We live in a society in which people are allowed to tell their story, and that is what I do.'
I toured around the country and met all these Broadway producers who put me in all these Neil Simon plays like 'Brighton Beach Memoirs' and 'Biloxi Blues.'
Writing the past is never a neutral act. Writing always asks the past to justify itself, to give its reasons... provided we can live with the reasons. What we want is a narrative, not a log; a tale, not a trial. This is why most people write memoirs using the conventions not of history, but of fiction.
I rent a Jacobean-fronted hunting lodge in Hampshire from the National Trust and like to go there as much as possible. I've grown to love it so much, especially when writing my memoirs there at weekends.
I've been approached many times to write all sorts of books about my past and my personal life. I get interest from people who want to do reality shows, and somebody just offered me a huge amount of money to write my spiritual memoirs. I'm just not interested.
I think writers of memoirs need to be respected for the bold decision they take to bare their lives open. That alone should be enough. The things I write about, if you notice, are sensitive issues for a lot of people. If I told you my age, they would get ideas. The next thing you know they'll be filing lawsuits against me.
Why was there so much work-sharing in the 1930s? One reason is that government pushed for it. In his memoirs, President Herbert Hoover estimated that as many as two million workers avoided unemployment as a result of his efforts to promote work-sharing.
People write memoirs because they lack the imagination to make things up.
Some people think memoirs should be held to a perfect journalistic standard. Some people don't. Obviously I don't. My goal was never to create or to write a perfect journalistic standard of my life. It was always to be as literature.
I have been presented with roles with demand not just a physical ability but mental disciplines as well. 'Memoirs of a Geisha' was not so much about physical exertion... it was much more graceful and contained than that.
If you read the memoirs of slave-owning families, you'd be hard pressed to find evidence of black people in the lives of the whites, even though for most of the time on the plantations black people outnumbered whites by a ratio of seven to one.
'Undertones of War' by Edmund Blunden seems to get less attention than the memoirs of Siegfried Sassoon and Robert Graves, but it is a great book.
