As writers go, I have a skin of average thickness. I am pleased by a good review, disappointed by a bad. None of it penetrates far enough to influence the thing I write next.
Rachel CuskRead
In memoir, you have to be particularly careful not to alienate the reader by making the material seem too lived-in. It mustn't have too much of the smell of yourself, otherwise the reader will be unable to make it her own.
Interpretation
In writing memoirs, it's important to balance personal experience with relatability for the reader.
Rachel Cusk emphasizes the need for memoir writers to present their experiences in a way that resonates with readers rather than overwhelming them with personal details. If the narrative is too saturated with the author's own life, it risks becoming inaccessible or alienating, thus preventing the reader from connecting with or interpreting the story in their own way.
In practice
An author discussing their memoir during a book signing.
As writers go, I have a skin of average thickness. I am pleased by a good review, disappointed by a bad. None of it penetrates far enough to influence the thing I write next.
There is always shame in the creation of an expressive work, whether it's a book or a clay pot. Every artist worries about how they will be seen by others through their work. When you create, you aspire to do justice to yourself, to remake yourself, and there is always the fear that you will expose the very thing that you hoped to transform.
Shame is something you'll find a lot of - particularly Catholic - girls feel about their bodies, about their sexuality, about their diet, about anything you like. Shame is the way you keep them down. That's the way to crush a girl.
I have no sense of a model or predecessor when I write a memoir: For me, the form exists as a method of processing material that retains too many connections to life to be approached strictly and aesthetically. A memoir is a risk, a one-off, a bastard child.
It seems to me that 'women's writing' by nature would not seek equivalence in the male world. It would be a writing that sought to express a distinction, not deny it.
We who were born were not witnesses to our birth: like death, it is something we are forever after trying to catch sight of.
If I could sum it up in 50 words, I wouldn't have needed to write a whole novel about it.
There might be a different model for a literary community that's quicker, more real-time, and involves more spontaneity.
I'm fighting against the bad poet who is prone to using too many words.
Sentences must stir in a book like leaves in a forest, each distinct from each despite their resemblance.
At the time I was growing up, literature was involved with the so-called confessional poets. And I was not interested in that. I did not think that specific and personal perspective functioned well for the reader at all.
Of course, the fact that Dostoevsky can tell a juicy story isn't enough to make him great. If it were, Judith Krantz and John Grisham would be great fiction writers, and by any but the most commercial standards they're not even very good.
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