Art of Confession: The Performance of Self from Robert Lowell to Reality TV
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In the theater, it’s always tempting to credit the actors onstage with the achievements of those behind the scenes: the playwright’s eloquence, the designer’s vision, the director’s discretion, and the stage manager’s steady hand will somehow accrue to them. Academic books play a similar trick on their audience. The title page lists one name, but many are responsible. I’d like to thank a few such people here.
Only communities can foster the kind of energy that drives a book project forward all the way from beginning to end. My first scholarly community was at Yale, where this book began its life. There, I was nurtured by several communities’ worth of fellow students, especially the members of the Twentieth-Century Colloquium in English, the cross-disciplinary Theory and Media Studies Group, and (most of all) the Performance Studies Working Group. My co-conveners of that last group—Julia Fawcett, Madison Moore, Lynda Paul, and Katie Vida—shaped my mind and this project from the start. Other members of that group—especially John Muse and Nathalie Wolfram—were, like my co-conveners, good friends and essential partners in thought.
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