Category Archives: memories

The gaps left within us by the secrets of others

The belief that the spirits of the dead can return to haunt the living exists either as a tenet or as a marginal conviction in all civilizations, whether ancient or modern. More often than not, the dead do not return to reunite the living with their loved ones but rather to lead them into some dreadful snare, entrapping them with disastrous consequences. To be sure, all the departed may return, but some are predestined to haunt: the dead who have been shamed during their lifetime or those who took unspeakable secrets to the grave.  . . .  the theme of the dead—who, having suffered repression by their family or society, cannot enjoy, even in death, a state of authenticity—appears to be omnipresent on the fringes of religions and, failing that, in rational systems.

It is a fact that the “phantom,” whatever its form, is nothing but an invention of the living. Yes, an invention in the sense that the phantom is meant to objectify, even if under the guise of individual or collective hallucinations, the gap that the concealment of some part of a loved one’s life produced in us. The phantom is, therefore, also a metapsychological fact. Consequently, what haunts are not the dead, but the gaps left within us by the secrets of others.

Because the phantom is not related to the loss of a loved one, it cannot be considered the effect of unsuccessful mourning, as is the case of melancholics or of all those who carry a tomb within themselves. It is the children’s or descendants’ lot to objectify these buried tombs through diverse species of ghosts. What comes back to haunt are the tombs of others. The phantoms of folklore merely objectify a metaphor active within the unconscious: the burial of an unspeakable fact within the loved one.Here we are in the midst of clinical psychoanalysis and still shrouded in obscurity, an obscurity, however, that the nocturnal being of phantoms can, paradoxically, be called upon to clarify.

 Nicolas Abraham ,  “Notes on the Phantom”  Nicholas Rand, assistant professor of French at the University of Wisconsin—Madison, is the English-language editor of Abraham’s works

(from here) 

 

 

 

 

http://www.lamarre-mediaken.com/Site/EAST_493_files/Abraham%20Notes%20on%20the%20Phantom.pdf

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The truth of stories

Following the publication of his first autobiography, “Uncle Tungsten,” [Oliver] Sacks came to understand that his memories were not as reliable as he’d thought: After describing in high detail the memory of a thermite bomb that fell behind the family’s house in the winter of 1940-41, he was informed by his brother that he had not in fact been present for it, having been sent away to the relative safety of boarding school. The “memory” had been lifted whole from a letter their older brother wrote to them both, describing the dramatic event in a way that had deeply impressed Sacks at the time. And yet even after accepting the correction, Sacks found that the recollection lost none of its vivid power, having long been embedded as if it were a genuine primary memory. Neither psychoanalysis nor brain imaging can tell the difference between a true and false memory. And more than that, Sacks writes, “There is, it seems, no mechanism in the mind or the brain for ensuring the truth…. We have no direct access to historical truth … no way by which the events of the world can be directly transmitted or recorded in our brains; they are experienced and constructed in a highly subjective way…. Our only truth is narrative truth, the stories we tell each other and ourselves — the stories we continually recategorize and refine.”

Nicole Krauss, A Last Glimpse Into the Mind of Oliver Sacks   The New York Times, December 4, 2017 (from here) 

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Speaking about death

There was a time I could say no one I knew well had died. This is not to suggest no one died. When I was eight my mother became pregnant. She went to the hospital to give birth and returned without the baby. Where’s the baby? we asked. Did she shrug? She was the kind of woman who liked to shrug; deep within her was an everlasting shrug. That didn’t seem like a death. The years went by and people only died on television—if they weren’t Black, they were wearing black or were terminally ill. Then I returned home from school one day and saw my father sitting on the steps of our home. He had a look that was unfamiliar; it was flooded, so leaking. I climbed the steps as far away from him as I could get. He was breaking or broken. Or, to be more precise, he looked to me like someone understanding his aloneness. Loneliness. His mother was dead. I’d never met her. It meant a trip back home for him. When he returned he spoke neither about the airplane nor the funeral.

Claudia Rankine,  Don’t Let Me Be Lonely

(from here) 

 

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Keeping a secret

[ The writer was raped  when she was twelve by a pack of boys, one of whom she loved. She  told no-one.  She  began eating and eating.]

Even as I became more and more withdrawn, my family remained strong, connected in these intimate, indelible ways. I have no doubt that my parents noticed the change in me. They would continue to notice, to worry over me, for the next twenty years and longer. But they didn’t know how to talk to me and I didn’t let them in. When they tried, I deflected, refusing to take the lifelines they offered me. The longer I kept my secret, the more attached I became to keeping my truth to myself, the more I nurtured my silence.

Roxane Gay, Hunger: A Memoir of (My) Body        

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Memoir as the quest to understand

“To write a memoir”, [Richard] Ford claims, “and to consider the importance of another human being is to try to credit what might otherwise go unremarked”. In pondering this, however, Ford is brought up against his own “incomplete understanding”. While Between Them was undertaken in order to “remedy my longing by imagining them near”, it is just as much a record of lapses and blanks. Ford adopts a speculative mode, with provisional portraits evoked by missing details:

“And how was it for him? Driving, driving alone? Sitting in those hotel rooms, in lobbies, reading a strange newspaper in the poor lamplight … smoking?”

Oftentimes, Ford develops the scene in the negative:

“I don’t remember the time of year of his heart attack … I don’t remember it being cold or hot.”

As a consequence, what is most moving is less the story told than the nature of the inquiry: the long view taken by a son trying to imagine what his parents felt about their own lives, what these lives were like before him, and what they have become in memory.

 

Stephanie Bishop reviewing ‘Between Them’ by Richard Ford, a memoir of his parents. The Monthly June 2017 (from here) 

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A universal truth to be reckoned with

[There is] a truth that sits beneath the surface of the twin, universal facts of our beginnings and endings: the unequivocal triad of mother-father-self. Whether that triad is sturdy or broken, bonded by biology, affection or both, it’s one that most of us must reckon with, in some shifting fashion, all of our lives.

Cheryl Strayed on Richard Ford’s Masterly Memoir of His Parents May 1, 2017 The New York Times (from here) 

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A museum of mobile and grimacing images

In the first 11 years of his life, his family had been caught up with the First World War, the Russian Revolution, and the Russian-Polish war. As Milosz wrote,

“When I reached adolescence, I carried inside me a museum of mobile and grimacing images.”

Sudipta Datta  reviewing  Milosz: A Biography by  Andrzej Franaszek, Edited and translated by Aleksandra and Michael Parker,

(from here) 

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Looking at a photo

           A Summer Garden BY LOUISE GLÜCK

Several weeks ago I discovered a photograph of my mother

sitting in the sun, her face flushed as with achievement or triumph.

The sun was shining. The dogs

were sleeping at her feet where time was also sleeping,

calm and unmoving as in all photographs.

I wiped the dust from my mother’s face.

Indeed, dust covered everything; it seemed to me the persistent

haze of nostalgia that protects all relics of childhood.

In the background, an assortment of park furniture, trees and shrubbery.

The sun moved lower in the sky, the shadows lengthened and darkened.

The more dust I removed, the more these shadows grew.

Summer arrived. The children

leaned over the rose border, their shadows

merging with the shadows of the roses.

A word came into my head, referring

to this shifting and changing, these erasures

that were now obvious—

it appeared, and as quickly vanished.

Was it blindness or darkness, peril, confusion?

Summer arrived, then autumn. The leaves turning,

the children bright spots in a mash of bronze and sienna.

(from here) 

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Proust says . . .

Proust says memory is of two kinds.

There is the daily struggle to recall

where we put our reading glasses

 


and there is a deeper gust of longing

that comes up from the bottom

of the heart

involuntarily

At sudden times

For surprise reasons.

 

Here is an excerpt from a letter Proust wrote

In 1913

We think we no longer love our dead

 

But that is because we do not remember them;

Suddenly

We catch sight of an old glove

 

And burst into tears.

 

– Anne Carson, Float

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Remembering and forgetting

Really to forget something you have to forget you have forgotten it.

Anne Carson,  Stacks (in Float, )

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