AWP 2014: Some Notes on Memoir (Mostly) from Fiction Writers
March 1, 2014 § Leave a comment
I scribbled, jotted, tried to keep up. And of course, I couldn’t. I couldn’t seem to match stride with the panelists, any panelists. I wanted to simply listen, simply be there in the cramped rooms, smiling, nodding, sometimes laughing. But my primary focus was on notes because I don’t trust my memory. As I sat through three panels on the first day of AWP 2014, I was scribbling, jotting, trying to keep up. Always getting a little too attached to one phrase or sentence, attempting to get it down word for word and, more often than not, failing.
So I was surprised when I attended an afternoon panel called “The Peculiar Yesterday: The Memoir Today.” Moderated by Debra DiBlasi of Jaded Ibis Press, it featured four authors who discussed their experimental memoirs. Cris Mazza presented a description of her book, Something Wrong with Her: A Real-Time Memoir, a work that preserves the process of its own creation, its transformation and the simultaneous effects of its generation on the author’s life and her life on its composition, as she seeks to examine her unfulfilling sex life. Jane Rosenberg LaForge formed her presentation into the structure of her memoir, An Unsuitable Princess: A True Fantasy/A Fantastical Memoir, in which she presents, through oblique association, the “most honest and intimate self-portrait” that she could, the portrait of her imagination as she grew up in Hollywood at the dawn of Hippydom. Dawn Raffel walked us through the process of creating The Secret Life of Objects: A Memoir, a collection of seemingly mundane but meaningful objects that have accreted around her throughout life, which are illustrated by her son, and through which she explores connections, memories, and meaning. Finally, in discussing The Vicious Red Relic, Love: A Fabulist Memoir, Anna Joy Springer delved not only into the impetus for this work—the death of her lover—but also the cultural influences from which she has produced her genre-blurring “grotesque,” a work of “experimental spiritual auto-ethnography.”
But I wasn’t surprised by the experimental memoirs or the processes that led to their composition and publication. I wasn’t surprised that Debra DiBlasi had chosen to publish these books because she found in them “a person, an individual, an honesty, an integrity.” I was surprised that, as I listened to the presentations, I began to take notes not on what was being said, but what was implied about memoir. I began to write things like “memoir as last resort? As springboard for getting other work [i.e., fiction] published?” “Memoir as accidental composition?” Only Anna Joy Springer self-identified as a memoirist, while Cris Mazza, Jane Rosenberg LaForge, and Dawn Raffel were primarily fiction writers, and LaForge had brought up some of the problems and questions I began to write, but the overwhelming feeling that I got as I listened to the first three panelists was that memoir was just what its critics have said about it, and what the first three panelists perhaps unintentionally perpetuated: navel-gazing and self-indulgent, which is to say, less than. Of course this view ignores the fact that memoir has a prominent spot on bookshelves because it is a place to explore the human condition, a point of connection for a kind of animal that is, by virtue of its consciousness, given to loneliness.
I walked away from the panel very much interested in the books that were discussed and in Jaded Ibis Press, but also a bit, well, jaded at the fact that, while none of the panelists openly derided memoir or creative nonfiction as a genre, some of them seemed to do it in the ways that they talked about memoir. But perhaps I’m just being defensive and overly sensitive about a genre that I admire and practice. Perhaps it’s just me.
Zach Jacobs is a Presidential Graduate Fellow at the University of Nebraska – Omaha, where he is finishing his MA in English with a concentration in creative nonfiction. His work has been published in Fine Lines.