In Robert Lowell's confessional poem Life Studies (1962), in Drusilla Modjeska's memoir The Orchard (1994), in Arthur Bochner's personal narrative It's About Time (1997 ) and in Felicia Sullivan's memoir The Sky Cannot Be Seen From Here (2008), the truth and meaning of a life are understood as a product of social discourses. This means that they are mediated between language, integrations external to the represented life, and specters of the past, present, and future self. The 'self', therefore, in the representation of a life, must be sought in the dialogic relationship with what is 'other' from the life represented: other people, generic and linguistic conventions and espoused ideologies. This calls into question the dominant paradigm of the Cogito – a singular, central consciousness – as the source of all meaning in the Scripture of Life. However, the self-reflexive work of life writing generates a discursive formation of a self or subject, to elevate understanding of the represented life. In Life Studies, Robert Lowell redefines himself against his father and the social discourse of orthodoxy in an act of recreation through spectrality and integration. The additional use of Freudian tropes allows him to fashion a particular sense of self to introduce the "ghostly" presence of his past into the depiction of his relationship with the men in his life. In Grandparents, Lowell's grandfather symbolizes the patriarchal male. He expresses it with exclamatory tones “Grandpa! Take me, hold me, love me!” which carries with it echoes of the wedding vow to establish a feminised and dependent image of himself in a Freudian transference of desire towards his grandfather. Lowell's symbolic marriage to his grandfather identifies his need for a patriarchal mode... at the center of the card... ideological and social constraints due to modes of expression, Lowell, Modjeska, Bochner and Sullivan took fragments of their lives to rewrite these boundaries that bind them. Consequently, they deny the formalist notion of fossilized genders by embracing hybridity and fluidity as a projection of progressive culture, to enable growth and liberation in life through the delineation of identity. The innovations of these authors enhance both sociality and dialogue between lives; as well as a critical approach to the past, which according to Derrida is equivalent to a form of fidelity, as in memory, whereby progression reappropriates and brings the past into the future as an act of respect. Therefore, it is believed that these acts of life writing project towards democratization in cultural spheres and the possibilities that branch out from the movement of society. .