A Quote by Dani Shapiro
This may be a little bit of a provocative thing to say, but the memoirist doesn't owe the reader anything other than a good story and the inclining of the mind in the direction of memory. Of course, the memoirist is not allowed to make things up. But the really skilled memoirist knows what to leave in and what to leave out to serve the story. In autobiography you can't do that.
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A memoir provides a record not so much of the memoirist as of the memoirist's world.
As a memoirist, I may claim to write the easier-to-remember things, but I could also just be writing to sweep them away. 'Don't bother me about my past,' I'll say, 'It's out in paperback now.'
As a memoirist, I strive for veracity.
The successful memoirist [blogger] respects facts, uses them accurately, rigorously represses the human impulse to lie or embellish, but knows that truth is both different from facts and greater than facts, and not always their sum.
I must say a few words about memory. It is full of holes. If you were to lay it out upon a table, it would resemble a scrap of lace. I am a lover of history . . . [but] history has one flaw. It is a subjective art, no less so than poetry or music. . . . The historian writes a truth. The memoirist writes a truth. The novelist writes a truth. And so on. My mother, we both know, wrote a truth in The 19th Wife– a truth that corresponded to her memory and desires. It is not the truth, certainly not. But a truth, yes . . . Her book is a fact. It remains so, even if it is snowflaked with holes.
Every successful piece of nonfiction should leave the reader with one provocative thought that he or she didn't have before. Not two thoughts, or five - just one. So decide what single point you want to leave in the reader's mind.
We who make stories know that we tell lies for a living. But they are good lies that say true things, and we owe it to our readers to build them as best we can. Because somewhere out there is someone who needs that story. Someone who will grow up with a different landscape, who without that story will be a different person. And who with that story may have hope, or wisdom, or kindness, or comfort. And that is why we write.
When you're writing a book that is going to be a narrative with characters and events, you're walking very close to fiction, since you're using some of the methods of fiction writing. You're lying, but some of the details may well come from your general recollection rather than from the particular scene. In the end it comes down to the readers. If they believe you, you're OK. A memoirist is really like any other con man; if he's convincing, he's home. If he isn't, it doesn't really matter whether it happened, he hasn't succeeded in making it feel convincing.
Recalling the aftermath of her father's death from alcoholism at age 42, this memoirist reminisces: I couldn't deny that our life was so much better now, but I did miss him. For all the misery he caused, I knew with certainty that he loved us. Those aren't things you can weigh or measure away. ... They're not opposites that cancel each other out. They're both true at the same time.
I don't know where the idea originated that memoir writing is cathartic. For me, it's always felt like playing my own neurosurgeon, sans anesthesia. As a memoirist, you have to crack your head open and examine every uncomfortable thing in there.
Where would the memoir be without bipolar writers? I mean, that's what - that whole oversharing thing is really a very clear symptom of bipolar disorder. And I'm not saying that every, you know, I'm not accusing every memoirist of being bipolar. But I think in a way it's kind of a gift.
As a rule, with me an unfinished [idea] is a thing that might as well be rubbed out. It's better, if there's something good in it that I might make use of elsewhere, to leave it at the back of my mind than on paper in a drawer. If I leave it in a drawer it remains the same thing but if it's in the memory it becomes transformed into something else.
The emotional stakes a memoirist bets with could not be higher, and it's physically enervating. I nap on a daily basis like a cross-country trucker.
I dont know where the idea originated that memoir writing is cathartic. For me, its always felt like playing my own neurosurgeon, sans anesthesia. As a memoirist, you have to crack your head open and examine every uncomfortable thing in there.
If the memoirist is borrowing narrative techniques from fiction, shouldn't the novelist borrow a few tricks from successful non-fiction?
If one loves stories, then one would naturally love the story of the story. Or the story behind the story, pick your preposition. It does seem to me to be a kind of animal impulse almost, a mammalian curiosity. For a reader to wonder about the autobiography in a fiction may be completely unavoidable and in fact may speak to the success of a particular narrative, though it may also speak to its failure.
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