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By Neil Young

For the 1st time, mythical singer, songwriter, and guitarist Neil younger deals a kaleidoscopic view of his own lifestyles and musical creativity. He tells of his formative years in Ontario, the place his father instilled in him a love for the written note; his first brush with mortality whilst he gotten smaller polio on the age of 5; suffering to pay lease in the course of his early days with the Squires; touring the Canadian prairies in Mort, his 1948 Buick hearse; appearing in a distant city as a polar undergo prowled underneath the floorboards; leaving Canada on a whim in 1966 to pursue his musical goals within the pot-filled boulevards and communal canyons of l. a.; the short yet influential lifetime of Buffalo Springfield, which shaped presently after his arrival in California. He recounts their fast upward thrust to status and supreme break-up; going solo and overcoming his worry of making a song on my own; forming loopy Horse and writing “Cinnamon Girl,” “Cowgirl within the Sand,” and “Down through the River” in a single day whereas unwell with the flu; becoming a member of Crosby, Stills & Nash, recording the landmark CSNY album, Déjà vu, and writing the tune, “Ohio;” lifestyles at his secluded ranch within the redwoods of Northern California and the pot-filled jam periods there; falling in love along with his spouse, Pegi, and the delivery of his 3 kids; and eventually, discovering the contemplative paradise of Hawaii. Astoundingly candid, witty, and as uncompromising and actual as his track, Waging Heavy Peace is Neil Young’s trip as merely he can inform it.

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Alec Hargreaves and Mark McKinney also discuss the problem of postcolonial theory being simply an addition to the other ‘posts’ that indicate a crisis in Western theory and as such failing to reflect the real concerns of the cultures it seeks to read and re-read. 94 Charles Forsdick and David Murphy, in Francophone Postcolonial Studies, emphasise the positive contribution of Postcolonial Studies in a further useful discussion of its development. They remark both on the ways in which Postcolonial Studies have led English literature departments to revise the literary canon (a point also made by James Olney, as cited earlier) and on the willingness within the field to ‘refine the object of its research in the light of criticisms of earlier definitions’, taking as an example the use or non-use of the hyphenated form.

Indeed some feminist critics establish a link between male autobiographical practice, the cult of individuality and colonialism. This returns us crucially to Weintraub’s distinction between individualism as a conception of the ideal relation between the individual and society, and the personality conception of individuality. Women’s autobiographical practices, like the postcolonial practices under analysis here, seem to explore the social conception of individualism. The ‘I’ does not necessarily ‘represent’ a ‘we’, but is often a vehicle to explore the relation between the ‘I’ and that ‘we’.

In so doing, these writers contributed to the analysis of the effects of colonisation and of resistance to that oppression on the identity of the individual and of the nation. However, as previously discussed in the preface, the issue of a writer, part of an intellectual elite, ‘representing’ the wider community is problematic. The almost invariable references to the ‘I’ that masks a ‘we’, the je pluriel (a plural, multiple, collective self), have become mere commonplaces, at best narrative instances that the critic expects to find and therefore does not question.

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