Download e-book for kindle: Navigating Loss in Women’s Contemporary Memoir by Amy-Katerini Prodromou (auth.)

By Amy-Katerini Prodromou (auth.)

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The second is in its “anti-therapeutic stance” (Whitehead 117), which speaks directly to a complex recovery defining itself against Freud’s concept of recovery. The third lies in its emphasis on “witnessing to someone or giving testimony for an audience” (Hawkins’s italics, “Writing About Illness” 123), thus highlighting the importance of the socialization of grief in creating a “dialogue of mournings” (Leader 85). 26 Navigating Loss in Women’s Contemporary Memoir In her book, Limits of Autobiography, Leigh Gilmore discusses studies by Cathy Caruth, Shushana Felman, and Dori Laub, in which “trauma narratives .

Memory is essential to the attempt to discover the truth of our past. But Roorbach goes even further to suggest that: “memory is what people are made out of. After skin and bone, I mean. And if memory is what people are made out of, then people are made out of loss” (19). Gordon recognizes this from very young as a child. Memory becomes a means of reuniting her with her father: “I knew I wouldn’t see my father’s face again, or feel his breath, or hear his voice, but if I was journeying back in memory to places we had been together, I was engaged in a quest that was not only admirable but, most important, meaningful” (8).

Lehman suggests that it is important for readers of nonfiction to “negotiate a text with the author by refusing to read safely within the printed page” (336). Understanding that nonfiction by its very 34 Trout Tickling for Truth in Narratives of Loss 35 nature is tied to the real outside of the text encourages a reading of that text where “we are still permitted to mourn the loss of human life as something more than the ending of a story” (Lehman 341). However, within this understanding of nonfiction – and while conforming to “an integrity of intention” (Zinsser 6) – my chosen writers move beyond simplistic boundaries between fact and fiction in order to create a fluid space that allows for the telling of one’s own “very precious and private and shifting truth” (Gutkind xxx).

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