Tweetspeak Poetry

  • Home
  • FREE prompts
  • Earth Song
  • Every Day Poems—Subscribe! ✨
  • Teaching Tools
  • Books, Etc.
  • Patron Love

Memoir Notebook: Double I/Eye

By Anthony Connolly 4 Comments

Memoir Notebook is a monthly (sometimes more) column dedicated to longer or more complex works.

By way of our Memoir Notebook,  we want you to meander, get caught up, find yourself taken to places you hadn’t intended to go (but are so glad, in the end, that you went). You’ll get thoughts on aesthetics, craft, latest issues, tips and books to read. But it will feel like poetic narrative. And sometimes it will simply be poetic narrative. Today,  Wm. Anthony Connolly discusses how we might resolve the memoirist’s memory folly: by splitting the memoirist in two.

__________________
“The past is open to revision because memory is a function of present intention.” (Sam Keen in Telling Your Story)

I forgot.

I didn’t intend to, but I did. Memoirists do that kind of thing, sometimes intentionally, but mostly not.

A few years ago, I wrote a memoir based on an old writing assignment I got while in college from my writer mentor Maureen Stanton (author of Killer Stuff and Tons of Money: An Insider’s Look at the World of Flea Markets, Antiques, and Collecting and countless wonderful essays). The exercise called for me to firstly, recall a memory; secondly, reflect on the memory; and finally, mull over the significance of the memory.

So I came up with a memory—being scared of a mountain stream. I reflected on the memory—I was in my Daddy’s arms while my brother and sister were bent over the stream as if to lick the water. Mum took the picture. Finally, I thought it was significant because to my mind it was the first time I felt fear. It was on a holiday out west with Kevin, Denise, and our parents—my older brother Michael and sister Elizabeth Anne were not with us.

Or so I thought.

When the piece was published, Elizabeth Anne contacted me to ask if I wanted to see the picture of the event I described. Why, yes. Lo and behold, the scene I had described was almost spot-on. The trembling me in my Daddy’s arms, the mountain stream, everything—well, not everything, right? I had forgotten that Elizabeth Anne was also in the picture—she was on the ground bending over to lap up what to me was the stream of utter horror.

So, not exactly spot on.

Memory is like that.

That’s why when you’re writing a memoir, it’s best to have a policy that you’ll attempt to recall as best you can, but admit to yourself and your readers that it’s not always possible—though photographic evidence can help (so contact someone who might have a family snapshot). For, according to one of my favorite memoir theorists, Thomas Larson, “the goals of a memoir are simply this: “[it] emphasizes the who over the what—the shown over the summed, the found over the known, the recent over the historical, the emotional over the reasoned” (from The Memoir and the Memoirist).

Vladimir Nabokov “revisits” his autobiography for a reason—his memory could be utter fiction. “Imagination, the supreme delight of the immortal and the immature, should be limited, ” he writes in Speak, Memory. Yet he finds himself using it time and time again to fill the “spaced flashes” that memory affords though imagination is a “slippery hold.” Still, Nabokov is upfront and honest (perhaps this is what motivates his re-visiting his life story). He often uses the phrase “I seem to remember, ” and writes “It seldom happens that I do not quite know whether a recollection is my own or has come to me secondhand, but in this case I do waver, ” of an episode chasing a butterfly with his mother.

One possible avenue of resolving the memory folly is splitting the memoirist in two.

What? Sounds like sorcery!

Virginia Woolf, in her autobiographical essay “A Sketch of the Past” in Moments of Being, suggests this startling and remarkable notion: “It would be interesting to make two people, I now, I then, come out in contrast. And further, this past is much affected by the present moment. What I write today I should not write in a year’s time.”

Her meaning is that a memoirist must fight and make apparent this apprehension, this conundrum of two selves in one storyteller. Going back to Larson we find an acceptable answer. The best way to deal with tension between fact and memory, as one uncovers the tension in the course of one’s writing, it is to admit to the tension—not cover it up. This admission, Woolf and Larson suggest, will go a long way to improving memoir’s success in inviting readers inside the thoughts of one engaged with former selves. For Woolf, few memoirs succeed. “So many are failures. They leave out the person to whom things happen.”

No, don’t do that.

The memoirist must always remember to include the person, or shall we say, persons, to whom the very thing or things happened to, and the memoirist works as best as possible to include others who were there, too, and have a photograph to prove it.

Writing Exercise:

The “Double I/Eye”

Part One: Write a brief 2-4 paragraph scene based on a memory in your life—the memory should be vivid:

  • Write in the first person
  • Present tense
  • Be descriptive and use sensory detail
  • Provide a sequence of events, action
  • Give us a story and a sense of consequence

Part Two: Write a reflective narrative of 1-2 paragraphs from the “writer at her/his desk” perspective, looking back on the event describing the first part and seeking to understand the larger significance of the event. Use the prompt below for help:

Reflection: Why do you remember this day, event, moment, scene? What do you realize now about the scene that you didn’t realize that day? How did you feel then, and how do you feel now about the events in the scene? Who are you in this scene, and how are you different or the same now? What does this scene say about you, your family, or anyone in it? What does this scene reveal about your memory? Is the memory flawed or skewed in any way? How can you account for that?

Interrogation: Did it really happen this way? Is anything missing? How would another person involved in this event or experience tell it differently? What does this memory symbolize? Is the memory atypical or typical for you or for others? Is the memory true? Accurate? Did you exaggerate?

Imagination: If you could change the scene, how would you and why? How do you imagine what others are experiencing in the scene? If you can’t remember details, can you suggest what it might have been like based on what you know about the people, the times, the setting? If you stepped into the shoes of another person in the scene, what would you have that person say to you? If you could address that person now, what would you say to him or her?

Part Three: Take time to shape and blend the memory and the reflection in a second or third revision of this exercise.

Photo by Guy Renard. Creative Commons license via Flickr. Memoir Notebook by Wm. Anthony Connolly,  author of the forthcoming novel, The Smallest Universe.

______________________________


Every Day Poems Driftwood

Want to brighten your morning coffee?

Subscribe to Every Day Poems and find some beauty in your inbox.

  • Author
  • Recent Posts
Anthony Connolly
Anthony Connolly
A former teacher, Wm. Anthony Connolly is a writer living in Millsboro, Delaware. He's a fan of writing, reading, philosophy, arts, and music—and is also interested in education and coffee.
Anthony Connolly
Latest posts by Anthony Connolly (see all)
  • Memoir Notebook: Voices (or, How to Write Spiritual Memoir) - October 10, 2014
  • Memoir Notebook: Advice for New Memoir Writers - August 1, 2014
  • Memoir Notebook: Double I/Eye - July 4, 2014

Filed Under: Memoir Notebook

Try Every Day Poems...

About Anthony Connolly

A former teacher, Wm. Anthony Connolly is a writer living in Millsboro, Delaware. He's a fan of writing, reading, philosophy, arts, and music—and is also interested in education and coffee.

Comments

  1. L. L. Barkat says

    July 8, 2014 at 6:31 pm

    Oh, perfect: “memory is a function of present intention.”

    And this is wonderful: For Woolf, few memoirs succeed. “So many are failures. They leave out the person to whom things happen.”

    I think both of these things speak to the way I unapologetically write memoir. Perhaps the memoirist needs to have a healthy dose of mischief within 🙂

    Reply
    • Anthony says

      July 10, 2014 at 9:20 pm

      I’ve said elsewhere — I kind of like my unreliability in remembering certain things and marvel my utter total recall in retrieving other memories.

      Reply
  2. SimplyDarlene says

    July 10, 2014 at 11:34 am

    I’ve also heard something like “at times we must lie a little bit to tell the whole truth.”

    Reply
    • Anthony says

      July 10, 2014 at 9:20 pm

      True.

      Reply

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Take How to Read a Poem

Get the Introduction, the Billy Collins poem, and Chapter 1

get the sample now

Welcome to Tweetspeak

New to Tweetspeak Poetry? Start here, in The Mischief Café. You're a regular? Check out our May Menu

Patron Love

❤️

Welcome a little patron love, when you help keep the world poetic.

The Graphic Novel

"Stunning, heartbreaking, and relevant illustrations"

Callie Feyen, teacher

read a summary of The Yellow Wallpaper

meet The Yellow Wallpaper characters

How to Write Poetry

Your Comments

  • Donna Hilbert on Poets and Poems: L.L. Barkat and “Beyond the Glass”
  • L.L. Barkat on Poets and Poems: L.L. Barkat and “Beyond the Glass”
  • Poets and Poems: L.L. Barkat and “Beyond the Glass” - Tweetspeak Poetry on Love, Etc.: Poems of Love, Laughter, Longing & Loss
  • Glynn on World War II Had Its Poets, Too

Featured In

We're happy to have been featured in...

The Huffington Post

The Paris Review

The New York Observer

Tumblr Book News

Stay in Touch With Us

Categories

Learn to Write Form Poems

How to Write an Acrostic

How to Write a Ballad

How to Write a Catalog Poem

How to Write a Ghazal

How to Write a Haiku

How to Write an Ode

How to Write a Pantoum

How to Write a Rondeau

How to Write a Sestina

How to Write a Sonnet

How to Write a Villanelle

5 FREE POETRY PROMPTS

Get 5 FREE inbox poetry prompts from the popular book How to Write a Poem

Shakespeare Resources

Poetry Classroom: Sonnet 18

Common Core Picture Poems: Sonnet 73

Sonnet 104 Annotated

Sonnet 116 Annotated

Character Analysis: Romeo and Juliet

Character Analysis: Was Hamlet Sane or Insane?

Why Does Hamlet Wait to Kill the King?

10 Fun Shakespeare Resources

About Shakespeare: Poet and Playwright

Top 10 Shakespeare Sonnets

See all 154 Shakespeare sonnets in our Shakespeare Library!

Explore Work From Black Poets

About Us

  • • A Blessing for Writers
  • • Our Story
  • • Meet Our Team
  • • Literary Citizenship
  • • Poet Laura
  • • Poetry for Life: The 5 Vital Approaches
  • • T. S. Poetry Press – All Books
  • • Contact Us

Write With Us

  • • 5 FREE Poetry Prompts-Inbox Delivery
  • • 30 Days to Richer Writing Workshop
  • • Poetry Prompts
  • • Submissions
  • • The Write to Poetry

Read With Us

  • • All Our Books
  • • Book Club
  • • Every Day Poems—Subscribe! ✨
  • • Literacy Extras
  • • Poems to Listen By: Audio Series
  • • Poet-a-Day
  • • Poets and Poems
  • • 50 States Projects
  • • Charlotte Perkins Gilman Poems Library
  • • Edgar Allan Poe Poems Arts & Experience Library
  • • William Blake Poems Arts & Experience Library
  • • William Shakespeare Sonnet Library

Celebrate With Us

  • • Poem on Your Pillow Day
  • • Poetic Earth Month
  • • Poet in a Cupcake Day
  • • Poetry at Work Day
  • • Random Acts of Poetry Day
  • • Take Your Poet to School Week
  • • Take Your Poet to Work Day

Gift Ideas

  • • Every Day Poems
  • • Our Shop
  • • Everybody Loves a Book!

Connect

  • • Donate
  • • Blog Buttons
  • • By Heart
  • • Shop for Tweetspeak Fun Stuff

Copyright © 2025 Tweetspeak Poetry · FAQ, Disclosure & Privacy Policy