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By Nicola King

It truly is regularly accredited that id or a feeling of self is built through and during narrative - the tales we inform ourselves and every different approximately our lives. This ebook explores the complicated relationships that exist among reminiscence, nostalgia, writing and id. the writer examines a variety of autobiographical and first-person fictional texts from holocaust literature, women's writing and well known fiction. each one textual content foregrounds problems with reminiscence, heritage and trauma within the development of identification. There are shut readings of texts together with Sylvia Fraser's My Father's condominium, Margaret Atwood's Cats Eye, Barbara Vine's A DarkAdapted Eye, Toni Morrison's liked, George Perec's W Or the reminiscence of youth, and Anne Michael's Fugitive items. studying those texts of reminiscence exhibits that 'remembering the self' relies no longer on restoring an unique identification, yet on 're-membering', on placing previous and current selves jointly, second via second, in a technique of provisional reconstruction. it is a powerfu

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Extra info for Memory, Narrative, Identity: Remembering the Self

Sample text

And his brother about the past – but we do not know how much selection and reorganisation went into the presentation of the interview transcripts and the accounts of the psychoanalytic sessions, how much (and when) they were retranslated in the light of later knowledge for the purposes of representation in the book. One example will make this process of elision clear: on pages 25 to 30 Fraser transcribes and comments on an interview with Bert, the gardener at Amnersfield. What we read is a partial transcript of a transcript.

In Morrison’s Beloved, Sethe’s story becomes bearable when she is able to share it with Paul D – ‘to tell, to refine, and tell again’ (1987: 99), although here it is the fact of being heard, returning to the same event again and again, that is therapeutic, rather than the construction of a logical story. Narratives such as Beloved and Perec’s W recognise that some events cannot be fully reconstructed or integrated into a coherent story, that something in them will always resist recovery or ‘passing on’; Lyotard even casts doubt upon the restorative powers of narrative or of writing, warning that ‘there is no salvation, no health, and that time, even the time of work, does not heal anything’ (1990: 34).

We see it ‘in the making’ in one sense – the interviews, his conversations with P. and his brother about the past – but we do not know how much selection and reorganisation went into the presentation of the interview transcripts and the accounts of the psychoanalytic sessions, how much (and when) they were retranslated in the light of later knowledge for the purposes of representation in the book. One example will make this process of elision clear: on pages 25 to 30 Fraser transcribes and comments on an interview with Bert, the gardener at Amnersfield.

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