ECI 509A Memoir: Writing for Reflection and Renewal

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Memoir: Writing for Reflection and Renewal

"Writers are the custodians of memory, and memories have a way of dying with their owners." --William Zinsser

Context

Reflective practices have been shown to facilitate the development of self-efficacy in teachers who consider multiple perspectives while weighing the long-term social and moral consequences of their decisions. The use of autobiography has long been cited as a way to encourage teachers to reflect upon their own lives and experiences as a source of knowledge about what they encounter in their own classrooms and the lives of children.

Genre

Though there are several genres that employ reflective writing, the memoir is a popular choice. A form of autobiographical writing, memoir usually deals with the recollections of someone who has been a part of or has witnessed significant events. Memoirs differ from autobiography in that they are often concerned with personalities and actions other than those of only the writer; autobiography stresses the inner and private life of its subject.

   Memoirs are more selective than autobiographies. Memoirs are about our most meaningful experiences, and in writing about them we often gain surprising insights. On reflection, we see the positive aspects of ourselves we’ve failed to appreciate. We observe our intentions, strivings, sacrifice, patience and efforts. Autobiographies focus more on events and achievements, life at the surface, while memoirs also reveal our dreams, frustrations, and sources of satisfaction. Autobiographies are usually linear, beginning with birth and continuing to the time of writing. They include facts that may, or may not, be of interest.
    Memoirs never plod when the writing arises from one’s urge to review significant scenes as they come to mind.  Some chapters lead to others that could not be foreseen. After all the chapters are written, they can be spread on the dining room table, or living room floor, to be arranged and rearranged, sometimes chronologically, sometimes by theme or according to some other system. If the writer decides to expand her memoirs into an autobiography, the necessary data can simply be added. An autobiography composed in this way will breathe with life.
    Anyone who claims to have an inner life is a potential memoirist. An adolescent filled with questions, concerns, reactions, and longings is ready to write memoirs. Memoirs appeal to reflective people, and such people may be of any age. What makes memoirs interesting has little to do with the writer’s importance or achievements; instead, vivid memories, feelings, and reflections affect the mind and heart of the reader and make memoirs significant. Think of the novels you have loved. The main characters are not usually people of renown or great achievement. It is their humanity that is important to us.  In writing about our inner lives, we show our own humanity.

Purpose

The goal of this course is to become proficient at informed, reflective writing, specifically memoir. This includes paying close attention to how your subject's memory, experiences or realizations connect to a larger historical, cultural, social, and/or economic context. Keep metaphor in mind. Draw new conclusions about an old experience; that is the heart of this exercise.

    Personal, reflective, introspective writing can be scary.  We fear self-exposure and hesitate to risk our companions’ disapproval.  Therefore, I insist that writers working in groups follow rigid guidelines for listening and response.
    Taking time to reflect on the draft after it has been written is an important part of the agenda. I provide questions designed to reveal unrecognized personal qualities and the significance of external events. Most of us are more aware of our shortcomings than we are of our strengths and spiritual dimensions, so we gain insights by asking ourselves questions such as:       

• Where do I see evidence of qualities in myself such as creativity, intuition, inspiration, intelligence, courage, patience, resolution, resilience, devotion, service, generosity, energy, or other strengths? • What needs, strivings, or longings lay behind my actions? • What was the source of my strength? • What teachings and people have guided me? • When did I feel empathy? • How have I expressed compassion? • How have I shown, or received, mercy? • What transitions have I made? Was I transformed? • In what ways have I experienced both doubt and faith? • When have I felt grace? Transcendence? • When have I tasted serenity, harmony, wholeness?

Audience

The memoir should be interesting to you and your target audience, specifically fellow students and your instructor. Listeners must never judge the life or lifestyle of the reader, must faithfully observe confidentiality, and must listen to learn. To respond constructively to a reading, listeners should first point out something—anything—they like about the writing, and then ask a question. Unless the writer asks for suggestions, they should say nothing further. Literary critiquing is not allowed. Advice and interpretation are forbidden. Following these guidelines creates a safe atmosphere. Writers whose convictions and lifestyles differ radically can write together comfortably and constructively. I’ve observed surprising candor and mutual support among very different people.

Possible topics for memoirs*:

-Think of a family story that you have told or have heard many times. Make notes about it and decide what the them of the story is. Then write the story down succinctly. Do not story from the theme and do not explain who the people in the story are. Do not give background information.

-Make a list of your family's (or other close-knit group's classic stories--those that are often repeated. For each one, make notes on what purpose you think it serves, or what myths it fosters in the family or group.

-Write a memoir beginning with the words "it would be much too dangerous to talk about..." that addresses things you consider taboo for yourself.

-Write about a place that you know well. Remember, you should focus on the people associated with that place rather than only the place itself.

-Think of a time when you had an accident and write about what happened, how you felt, and how it impacted you and the people around you.

• All writing exercises are taken from or adapted from Judith Barrington's (2002). Writing the memoir: From truth to art (2nd ed.) Portland, OR: The Eight Mountain Press.

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