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Through the Looking Glass Writers' Memoirs at the Turn of the 21St Through the Looking Glass Writers’ Memoirs at the Turn of the 21st Century Through the Looking Glass Writers’ Memoirs at the Turn of the 21st Century Robert Kusek Books in the series: Ewa Kowal and Robert Kusek (eds.), Powieść irlandzka w XXI wieku: Szkice Jagiellonian University Katarzyna Bazarnik, Liberature: A Book-bound Genre Press Through the Looking Glass Writers’ Memoirs at the Turn of the 21st Century Robert Kusek Books in the series: Ewa Kowal and Robert Kusek (eds.), Powieść irlandzka w XXI wieku: Szkice Jagiellonian University Katarzyna Bazarnik, Liberature: A Book-bound Genre Press SERIES Topographies of (Post)Modernity. Studies in 20th and 21st Century Literature in English LANGUAGE EDITOR AND PROOFREADER Elaine Horyza REVIEWERS dr hab. Teresa Bruś, prof. UWr prof. dr Johan Jacobs SERIES EDITORS Katarzyna Bazarnik, Bożena Kucała, Robert Kusek SERIES ADVISORY BOARD Šárka Bubíková (Univerzita Pardubice), Mirosława Buchholtz (Nicolaus Copernicus University), Finn Fordham (Royal Holloway University of London), Johan Jacobs (University of KwaZulu-Natal), Zygmunt Mazur (Jagiellonian University), John McCourt (Università Degli Studi Roma Tre), Claudia Marquis (University of Auckland), Krystyna Stamirowska (Jagiellonian University) COVER DESIGN Marcin Klag With the financial support of the Faculty of Philology, Jagiellonian University in Kraków © Copyright by Robert Kusek & Jagiellonian University Press First edition, Kraków 2017 All rights reserved No part of this book may by reprinted, or reproduced, or utilised in any form or by any electronic, mechanical, or other means now known, including photocopying and recording, or in any information storage, or retrieval system without prior permission in writing from the Publishers. ISBN 978-83-233-4290-8 ISBN 978-83-233-9651-2 (e-book) www.wuj.pl Jagiellonian University Press Editorial Offices: ul. Michałowskiego 9/2, 31-126 Kraków Phone: +48 12 663 23 80, +48 12 663 23 82, Fax: +48 12 663 23 83 Distribution: Phone: +48 12 631 01 97, Fax: +48 12 631 01 98 Cell Phone: +48 506 006 674, e-mail: [email protected] Bank: PEKAO SA, IBAN PL80 1240 4722 1111 0000 4856 3325 Memory is always an art, even when it works involuntarily. Harold Bloom, The Western Canon (1994: 17) To console me for being an invalid, I get “Alice” to read. I read both her adventures, but I prefer The Looking Glass. It is easy to imagine myself passing through a mirror, every cell of my body thinning, stretching, be- coming transparent, forming and re-forming in some other dimension. Hilary Mantel, Giving Up the Ghost (2010a: 94) Memoirs, in a form that does not correspond to what are generally called memoirs, are the general form of everything that interests me – the wild desire to preserve everything, to gather everything together in its idiom. And philosophy, or academic philosophy at any rate, for me has always been at the service of this autobiographical design of memory. Jacques Derrida, “Others Are Secret Because They Are Other” (2005: 145) After all, nothing is harder to reflect than a mirror. Gore Vidal, “Introduction” [to Christopher and His Kind] (2012: x) Contents Acknowledgements . 9 INTRODUCTION: The Lives of Writers . 13 PART ONE: Impure, Anomalous and Monstrous: Memoir at the Turn of the 21st Century CHAPTER ONE: “Thou Shall (Not) Mix the Kinds” . 37 1.1. Alfred and Emily by Doris Lessing . 39 1.2. The Emperor Waltz by Philip Hensher . 42 1.3. H Is for Hawk by Helen Macdonald . 45 1.4. Memory Theatre by Simon Critchley . 48 CHAPTER TWO: Est-il possible de définir le mémoire? 51 CHAPTER THREE: Dramatis Personae: Memoir and Its “Species” . 71 3.1. Souvenirs d’enfance, or Childhood Memoir: Out of Egypt: A Memoir by André Aciman . 73 3.2. Souvenirs d’adolescence, or Youth Memoir: Youth by J.M. Coetzee . 76 3.3. Old Age, or Falling Away Memoir: Somewhere Towards the End: A Memoir by Diana Athill . 79 3.4. Memoirs, or Scenes from Life: Country Girl: A Memoir by Edna O’Brien . 81 3.5. Filial Narrative, or Memoir of Parent . 84 3.5.1. Patriography, or Memoir of Father: Experience: A Memoir by Martin Amis . 87 3.5.2. Matriography, or Memoir of Mother: Dear Life by Alice Munro . 89 3.6. Parental Narrative, or Memoir of Child: Making Babies: Stumbling into Motherhood by Anne Enright . 92 3.7. Autrememoir: Scenes from Early Life: A Novel by Philip Hensher . 94 3.8. Pet Memoir: Dog Years: A Memoir by Mark Doty . 96 3.9. (Auto)pathography, or Memoir of Illness/Disability: The Shaking Woman, or A History of My Nerves by Siri Hustvedt . 98 3.10. (Auto)thanatography, or Memoir of Mourning: Elegy for Iris: A Memoir by John Bayley . 102 3.11. Travelogue, or Memoir of Journey: In A Strange Room: Three Journeys by Damon Galgut . 108 3.12. Periegetic Narrative, or Memoir of Place: Homage to Barcelona by Colm Tóibín . 111 3.13. Ekphrastic Narrative, or Memoir of Object: Ammonites and Leaping Fish: A Life in Time by Penelope Lively . 115 3.14. Bibliomemoir, or Memoir of Book: The Man Within My Head: Graham Greene, My Father and Me by Pico Iyer . 118 PART TWO: Readings CHAPTER FOUR: A Boy’s Own Story: In the Blood: A Memoir of My Childhood by Andrew Motion . 127 CHAPTER FIVE: Amongst Women: Aftermath: On Marriage and Separation by Rachel Cusk . 145 CHAPTER SIX: Written on the Body: Giving Up the Ghost: A Memoir by Hilary Mantel . 163 CHAPTER SEVEN: The Work of Mourning: Levels of Life by Julian Barnes . 175 CHAPTER EIGHT: Life after Life: Summertime: Scenes from Provincial Life by J.M. Coetzee . 187 CONCLUSION: Through the Looking Glass . 211 Bibliography . 217 Contents Author and subject index . 239 Author’s note . 253 8 Acknowledgements All autobiography is storytelling, all writing is biography. J.M. Coetzee, “Interview” (1992a: 391) Writing is not a homecoming. Writing is an alibi. Writing is a perpetu- al stammer of alibis. André Aciman, “Afterword: Parallax” (2011: 198) If a given piece of literary criticism hopes to be preoccupied with the question of bios and graphe, as well as their mutual interrelatedness (as mine indeed does), one has practically no choice but to open it in a way that is essentially personal.1 In the summer of 2007, as I was struggling with the disease that se- verely invalided me and still casts its terrible shadow over my daily life, I turned, as usual, though with greater than usual difficulty, to books. When grieving a considerable and permanent loss of eyesight (and fear- ing the worst to come) and, at the same time, trying to make sense of what had happened to me, I intuitively reached for narratives which pre- viously remained on the margins of my literary explorations,2 i.e. mem- oirs. In particular, I re-read three bereavement pieces which, consequent- ly, became my sickroom companions: Joan Didion’s The Year of Magical 1 For example, Jeffrey Berman’s Companionship in Grief and Dying in Character open with the critic’s intimate recountal of the death of his wife Barbara (the former [Berman 2010: 1]) and an accident that almost cost him his life and seriously invalided him (the latter [Berman 2012: 20–21]). Also, Martha C. Nussbaum’s philosophical discussion of emotions in Upheavals of Thoughts is preceded by an account of her mother’s death and funeral, i.e. a profoundly personal story “involving fear, and hope, and grief, and Acknowledgements anger, and love” (Nussbaum 2008: 19). 2 Although I have to admit that one of my earliest and most formative literary experi- ences was Halina Birenbaum’s Holocaust memoir entitled Nadzieja umiera ostatnia (1967) (Hope Is the Last to Die: A Coming of Age Under Nazi Terror [1971]) which I read when I was nine years old. 9 Thinking (a large print edition which my dear friend Torrie Blodget im- mediately provided me with upon learning about my condition), Mark Doty’s Heaven’s Coast, and Agata Tuszyńska’s Ćwiczenia z utraty. The vol- umes in question dealt with a different kind of tragedy than the one I was experiencing, but, as Hilary Mantel once acutely observed, “the pattern of all losses mirrors the pattern of the gravest losses.” She further con- tinued: “Disbelief is followed by numbness, numbness by distraction, de- spair, exhaustion. Your former life still seems to exist, but you can’t get back to it; there is a glimpse in dreams of those peacock lawns and foun- tains, but you’re fenced out, and each morning you wake up to the loss over again” (Mantel 2014). Between 2007 and 2016 I read and re-read several dozen memoirs and, as a literary critic and academic, I found them to be among the most in- triguing and fascinating forms of contemporary writing. In the present book, which is a result of my, I hope, studious exploration of this litera- ry phenomenon, I have done my utmost effort to write about memoirs following the tenets and meeting the standards of contemporary schol- arship. Truth be told, I would prefer to admit that I was first drawn to memoirs as part of my larger scholarly investigations; or that I accurate- ly identified memoirs as a mascot and the ultimate genre of our zeitgeist; but such claims would not be true. I first approached them as a mourner in pursuit of consolation and with a wish that they would help me to deal with my own loss and show how to recover from grief. I very much hope that this confession in no way impinges upon the way this book will be read and does not annul its potential academic merits.
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