The celebrity memoir can lay claim to being the most influential subgenre
of Irish autobiography on the basis of its commercial ubiquity, its popular
appeal, and its democratic accessibility, as evidenced by the wide cross-
section of society it represents in terms of class, ethnicity, gender, and
sexuality. While this chapter will consider early examples of the celebrity
memoir from the 1960s,
... [Show full abstract] disproportionate attention will be paid to works
by more contemporary figures, whose fame in the era of neoliberal capitalism coincides with transformations in notions of individuality and
achievement that bear crucially on the production and consumption of
autobiographical texts. Considerations of Irish autobiography, particularly
of the literary variety, tend to stress the writer’s identification against a
powerful other, which typically appears in a colonial or patriarchal guise.
In the case of celebrity authors, however, such negotiations tend to be
displaced by engagements with powerful cultural and media institutions,
many of which are non-Irish, that facilitate the public visibility upon which
this form of heightened individuality depends.