This article develops the concept of autofictional polyphony by analyzing Henry Roth’s Mercy of a Rude Stream, arguing that Roth constructs an artistically and ethnically hybrid self through intertextual engagement with literary precursors. Autofictional polyphony defines a mode of self-writing whereby influence is transformed into a mechanism for individual self-creation.

This article examines performance artist Emma Sulkowicz’s work as autobiographical practice and protest and reads it in conjunction with the media mobilization of her testimony to investigate the conditions of public survivorship, drawing on Sarah Ahmed to propose the willful victim/survivor.

This article engages in #MeToo’s nuanced discussions on women’s sexual vulnerability and agency through Tavi Gevinson’s and Emily Ratajkowski’s autobiographical essays. Following research into postfeminism and affect, I examine how both authors revisit past experiences of abuse, reassessing empowerment fantasies and embracing vulnerability as a path toward repair and resistance.

This article explores Cancel Culture as a valuable and limited collective response to the violation of social values. It uses two examples of Cancel Culture on YouTube—that of James Charles (2019) and Colleen Ballinger (2023)—to examine how networked publics play the important role of serving networked justice.

This commentary reflects on the author’s first interactions with the editors of a/b: Auto/Biography Studies in 1991. From that experience, the author developed deep appreciation and admiration for the journal and all its editors.

Coetzee’s Life & Times of Michael K is read through postcolonial ecology and biopolitics, focusing on narrative resistance and the critique of auto|biography as a tool of state surveillance. K’s non|narrative anti-auto|biography is contextualized within works by Coetzee, Beckett, and Kafka, and theoretically framed by Foucault and Agamben.