In the fiction of Grace Paley, Alice Walker, Achy Obejas, and Joyce Carol Oates, the reciprocity of memory and history creates a dialogical conversation between skepticism and hope, indifference and compassion, and isolation and community. Searching for the traumatic origins of their texts, these writers instead discover intertextuality. The perpetual backwards progression of textual memory, combined with a discovery that memory entails imagination and invention as well as veridical recall, suspends the authority of origin. Nevertheless, the writers continue to search for a horizon of Truth.; Without completely dismantling the traditional differences between memory and history, these writers nevertheless stress the historical implications of personal, cultural, and collective memory. Gender also plays an important role in determining the function of memory. Women must juxtapose individual and collective recall both to recover their erased pasts and to transform the conditions under which they have become subordinated.; Using a wide variety of theorists, including Cathy Caruth, Gayle Greene, Paul Ricoeur, Mikhail Bakhtin, and Michel Foucault, I explore the interdisciplinarity of memory. Chapter One centers on Grace Paley's “Faith” stories. Chapter Two concerns Alice Walker's epic novel The Temple of My Familiar , while the third chapter considers Achy Obejas's Memory Mambo. Finally, I devote two chapters to Joyce Carol Oates—one to her novel Foxfire and another to three works that contemplate trauma, You Must Remember This, We Were the Mulvaneys, and Black Water. ; Despite the texts' rhetorical worldview of undecidability, memory provides the key to unlocking their doors of knowledge. The jouissance of memory constructs multiple “truths” that combine hope with fear, comprehension with yearning, desire with loathing, and simplicity with complexity. Although we will never know the Truth of contemporary women's fiction, we will know the rhetorical conditions that make truths possible, the function of memory in searching for such truths, and the meaning that results from reconceptualizing memory and history.
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机译：在格蕾丝·佩利（Grace Paley），爱丽丝·沃克（Alice Walker），阿奇·奥贝贾斯（Achy Obejas）和乔伊斯·卡罗尔·奥茨（Joyce Carol Oates）的小说中，记忆与历史的互惠互利在怀疑与希望，冷漠与同情，孤立与社区之间进行了对话。这些作家在寻找其文本的创伤起源时，反而发现了互文性。文本记忆的永续向后发展，再加上记忆需要想象力和发明以及垂直记忆的发现，使原著的权威停滞了。尽管如此，作家们仍在寻找真理的视野。在没有完全消除记忆与历史之间的传统差异的同时，这些作家强调了个人，文化和集体记忆的历史含义。性别在决定记忆功能方面也起着重要作用。妇女必须将个人和集体召回并置，以恢复被抹去的过去并改变其从属的条件。我使用各种各样的理论家，包括凯西·卡洛斯（Cathy Caruth），盖尔·格林（Gayle Greene），保罗·里科（Paul Ricoeur），米哈伊尔·巴赫金（Mikhail Bakhtin）和米歇尔·福柯（Michel Foucault），来探索记忆的跨学科性。第一章以格蕾丝·佩利的“信仰”故事为中心。第二章讨论了爱丽丝·沃克（Alice Walker）的史诗小说《斜体》（Theital of My Familiar），而第三章则讨论了阿奇·奥贝贾斯（Achy Obejas）的 Memory Mambo 。最后，我为乔伊斯·卡罗尔·奥茨（Joyce Carol Oates）撰写了两章，一章是她的小说 Foxfire ，另一章是三篇考虑创伤的作品，您必须记住这一点，我们是穆尔瓦尼人，而黑水。 ;尽管文本对不确定性有夸张的世界观，但记忆是打开知识之门的关键。记忆的乐趣构成了多个“真相”，这些真相将希望与恐惧，理解与渴望，渴望与厌恶，简单与复杂结合在一起。尽管我们永远不会知道当代女性小说的真实性，但我们会知道使真相成为可能的修辞条件，寻找此类真相的记忆功能以及重新构想记忆和历史的意义。
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