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Some books are like museums. They offer an architecture but let you wander. Chapters, like gallery rooms, are adjacent and suggestive of order, but they read like a series of collections.
In Memory of Memory is such a book, a repository of cultural artefacts, curated so that you will ask: how does memory inhabit these objects? In its pages, we find the contents of a lost wallet; love letters from a hospital bed; prenuptial agreements in Hebrew; stories about mistaken identity; and a generous sampling of the literature on memory. The poet, essayist and journalist Maria Stepanova tells us that she has long been writing this book, perhaps her whole life. She wanted to explore her Jewish family’s efforts to be invisible in order to survive in 20th-century Soviet Russia, drawing upon “trans-generational transmission of traumatic knowledge and experience”. For as long as she can remember, she has collected family objects, and now she is holding them up to her reader, asking: do
Maria Stepanova’s In Memory of Memory is a textual cabinet of curiosities The memoir, shortlisted for the International Booker Prize, asks: do we know the people of the past, or do we merely seek to appropriate them? By Natasha Randall Some books are like museums. They offer an architecture but let you wander. Chapters, like gallery rooms, are adjacent and suggestive of order, but they read like a series of collections. I
n Memory of Memory is such a book, a repository of cultural artefacts, curated so that you will ask: how does memory inhabit these objects? In its pages, we find the contents of a lost wallet; love letters from a hospital bed; prenuptial agreements in Hebrew; stories about mistaken identity; and a generous sampling of the literature on memory.
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