Memoir is getting naked in front of a room full of strangers and saying, “Here are my stretch marks, here are my fat rolls, here is my cellulite, and here is the irritating boil on my ass and my reoccurring chin hair.”

One is not allowed to wear Spanx, utilize Instagram filters or self-tanner in memoir. To be authentic, the author has to expose it all — the lovely, the ugly, the funny, and the humiliating. That transparency is what makes memoir relatable, powerful, memorable, and interesting. It is also what makes memoir a difficult genre to write.

In revealing one’s experiences – joys, accomplishments, trials, and traumas – the writer is exposed not only to strangers, but to loved ones and friends. It is one thing to stand in front of strangers – unapologetic in one’s nakedness. It is a whole other thing to say, “Hey, Dad! Hey, Mom! Check out this foot-long stretch mark. No, it’s cool. It’s out there. Anyone can just Google my name and see it. Aren’t you proud?”

This exposure to my loved ones sometimes renders me creatively impotent in the midst of writing a piece. It gives me fear-induced stomach cramps when submitting. It makes my voice shake when I’m reading in public. It makes my thumb freeze up over the “Share” button on Facebook when a piece I am proud of is accepted for publication — fearing not only criticism and judgement, but also praise and that confusing-without-the-benefit-of-tone-or-facial-expression response of “Wow!”

However, it is not just my exposure that I need to be concerned with. As a memoirist, I have a moral responsibility to the other people I write about. I can justify showing the world my naked ass without the benefit of Spanx, but I cannot justify lifting my aunt’s skirt over her head, regardless of how important her exposure is to telling my own story authentically.
My life (and as a result, my memoir) revolves around my desperate lifelong search for love as a sort of adhesive to fill in and hold together parts of myself that were long ago shattered, broken, or left incomplete. That love has taken on many forms over the years — puppy love, obsession and control, unrequited love, abuse, lost love, and motherly love — but the love I always found most easy to access was baited with sex. The psychological, biological, and even astrological reasons for this are some of the subjects I explore in my writing. To write memoir well (to counter that impression of navel-gazing confession by expertly swinging between various theories and confession, so as not to bore the reader), one must ground one’s personal experience with something more solid and research-based. Unfortunately, this psychologically driven exploration of my life and behaviors leads to the inevitable exposure of others. My father, my step-father, my mother, my friends, my children, my grandfather, my grandmother, my siblings, and my lovers are all placed under a flaw-revealing blacklight. I may be holding that blacklight over my own head (giving myself the most exposure), but they are revealed in the ambient light. They are also reduced to their relationship to me. Their memories and experiences are not fully explored and explained. They are incomplete.
This moral responsibility I feel for my characters can be debilitating. I am not afraid to expose my rapists, my abusers, my bullies. As Anne Lamott so wisely stated in her book Bird by Bird, “If people wanted you to write warmly about them, they should have behaved better.” But it is a different matter to expose the sins of my family, their dark secrets, and the roles they may or may not have played in my psychological deformities.
Teachers of memoir writing offer some common techniques to counter this particular struggle. One is to change the names of the characters, and the other is to create a composite character (a character made up of traits from multiple people). These techniques are useful when one is writing about one’s high school bully, best friend, or even a lover (sometimes), but one cannot often disguise one’s parents, family members, or children this way. They will recognize their own cellulite or odd moles, regardless of the fake mustache applied to the lip of their character.

I have been sitting on a piece of memoir about my promiscuous youth for almost five years. It is, in my humble and usually self-deprecating opinion, the best thing I’ve ever written. I am proud of it. However, at the heart of this story lies a family secret — a secret that is not mine to share, despite how it affects me, my life, and my relationships. I have changed the names of the characters. I have chopped and edited important scenes. I have attempted to convince myself to submit it as fiction, but I can’t.

One might wonder why I bother to write memoir at all. The struggles seem to outweigh the benefits. Why do I put myself or those I love through all of this? Why not just write my story and submit it as fiction? I guess the simple answer is because I truly believe in the power of memoir — specifically, its ability to give others the courage to speak the unspeakable and to allow them to be vulnerable in the face of my vulnerability. Memoir validates my memories and experiences while also validating the memories and experiences of others. All of the anxiety I experience while writing, submitting, reading, and publishing my memoir is temporarily relieved when I receive confirmation of this validation from someone who has read and strongly related to my work. There is an instant intimacy created through our related experiences. And is it not intimacy that I ultimately crave?

My first public reading of memoir was in a packed coffee shop filled with my graduate school professors, my fellow students, a few of my friends, and my oldest son. My voice shook through the entire first page; I couldn’t look up from the overly-familiar-from-revision words on the page. The audience laughed, gasped, and “awwww-ed” in all of the right places. And despite my certainty that I would have a heart attack in the middle of this written reenactment of my rape and suicide attempt, I didn’t. After stepping down from the stage to the supportive applause of the familiar crowd, a handsome middle-aged woman in a broom skirt and an oversized knit sweater approached me. She had tears in her kind eyes. “You are incredibly brave,” she said as she embraced me in a surprisingly strong, sandalwood-scented hug. “I experienced something very similar in my teens and I found your story inspiring. Thank you for sharing it with me.” She said all of this as if we were the only two people in the room, and for a moment, it felt like we were.

I have had other moments like this after I have publically read or posted my work. Some express their shared experiences to me in a private message on Facebook, some approach me personally (shy and refreshingly sincere), some confess to me in drunken interactions at the bar. But regardless of how they do it, I feel a powerful sense of validation from this solidarity and shared vulnerability. They see me and I see them, fully and completely — my flawed fellow humans, naked and unapologetic.

Read Jen Escher’s “I Know Why Anne Sexton Had To Die,” an excerpt from her memoir Boy Crazy.

About Jen Escher

About Jen

Jen Escher is an adjunct English professor and a writer of memoir, poetry, and thinly veiled memoir touted as fiction. She lives in Fond du Lac, Wisconsin (in a quickly emptying nest), where she cheerfully writes about the dark, dense, and complicated human magic that is love, sex, and self-destruction.

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