Author: Mary Daniels Brown

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Related Articles:

• Introduction to Life Stories
• “Before I Go to Sleep,” S.J. Watson: We Are What We Remember
• Life Stories: The Personal Component
• 11 Novels That Feature Life Stories
• Literary Life Stories: The Character Biography
• “Gone Girl”: Forging a Life Story
• Life Stories: A Select Bibliography
• What Your Favorite Books Tell You About Your Writing
• Review: “Winesburg, Ohio” by Sherwood Anderson
• Moral Depth in Current Fiction

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I suspect that a feeling for stories, for narrative, is a universal human disposition, going with our powers of language, consciousness of self, and autobiographical memory.

—Oliver Sacks

Introduction

I was, like lots of other readers, bowled over by Gillian Flynn’s novel Gone Girl when I read it shortly after its publication in April 2012. While I appreciated it simply as an engrossing story, what particularly struck me was how the book used the concept of life stories to communicate its meaning. This came the year after I received my doctorate in psychology, for which I wrote my dissertation on life stories.

My study of life stories focused on memoir and other autobiographical writing, all nonfiction. But Gone Girl hit me upside the head with the realization that an understanding of life story theory could enrich my understanding of fiction, too. Here’s how Flynn uses aspects of life story as the framework of the novel:

“Gone Girl”: Forging a Life Story

Summary: Life Stories

Coming from an academic background, I was intrigued to recognize how aspects of psychology emerge in literature.

The study of life stories (the technical term is narrative identity theory) addresses how we all tell—to both ourselves and others—the story of our life in order to give meaning to our experiences and to build our sense of self—our feeling of who we are as both a member of society and a unique individual.

I started writing on this topic back in 2014. To keep this blog post as short as possible, I’m embedding some earlier posts about life stories here.

Introduction to Life Stories

Our life stories arise from our past and influence both our present and our future.

Life Stories: The Personal Component

When we tell our life stories, we include events as we remember them. Other people present at the same events may remember them quite differently.

Once Gone Girl demonstrated to me how life stories can show up in fiction, I began seeing them almost everywhere.

Autobiographical narratives have an interesting history in personality psychology. The idea behind this approach is that when individuals tell their life stories, they reveal the underlying themes that reflect their sense of identity over time. Think for a moment about how you would tell your story. When would it start? What would be your major organizing principles? How would you distill your many years of life experiences into, say, a 30- or 60-minute retelling to someone else? Ordinarily, researchers trying to grasp your identity from this story would look for major themes, such as relationships or worklife, high points and low points (and why), and the extent to which your sense of self tends to coalesce and be easily recognizable.

—Susan Krauss Whitbourne, Ph.D., Professor Emerita of Psychological and Brain Sciences at the University of Massachusetts Amherst

I see aspects of Life Stories in Literature functioning across time in the books that interest me.

What Your Favorite Books Tell You About Your Writing

How Life Stories Work in Fiction

Fiction, in its broadest sense, examines the meaning of human existence by considering the two most basic questions each of us asks about ourselves:

1. Who am I?
2. Why am I here?

We compose our life story to find our purpose or place in the world. Life stories are psychologically complex because they comprise two seemingly paradoxical functions:

1. to situate someone within a particular society or culture, in a specific place and a specific time
2. to carve out someone’s individual or unique identity within the larger group

Fiction gives us the opportunity to watch, in a safe setting, how particular actions play out. Understanding how life stories work can enrich our experiences of reading fiction by allowing us to observe how characters act in particular situations and transferring the lessons those characters learn to our own lives.

Sometimes the life story is the major focus of a novel. Other times it’s a minor element that illuminates some other aspect of the novel.

Every minute of every day, behind the scenes, our self-narrative is deftly guiding our every decision based on what we gleaned, applying it to what’s happening now, and suggesting what we should (probably) do next.

—Lisa Cron

Here’s a sampling of the themes that life stories can help us understand in fiction. These themes are like individual facets of a diamond: the meaning of one theme can reflect onto others. In fact, a single novel may illustrate more than one of these themes. I have broken this discussion down into themes for ease of discussion, but many themes may serve as reflections of each other and, like light from a cut diamond, produce a light greater than the sum of its individual parts.

identity

The core of narrative identity theory is the individual’s exploration, discovery, creation, and understanding of self. The term narrative means a series of events told in chronological sequence—essentially a story. Popular culture has adopted the concept of life stories with phrases such as “the narrative of success” or the need to “change the narrative” in fields such as business, lifestyle, and personal development.

Young children remember some of their experiences, but people generally don’t begin to put those memories together to construct a life narrative until adolescence.  Therefore, YA (young adult) fiction often emphasizes this aspect of life story. However, understanding or shaping one’s identity isn’t limited to adolescence but continues throughout one’s life time. 

. . . self-awareness and narrative intelligence overlap to a considerable degree. We have a natural inclination to think of ourselves—our past, present, and future—as an ongoing story.

We make sense of the world by ordering events into narrative forms. We also make sense of ourselves in the same way, by ordering experiences into meaningful sequences.

—Frank Tallis

Fiction featuring adults therefore sometimes includes incidents in which characters try to focus, evaluate, explain, or even change their life path or sense of purpose. For example, the story in Harper Lee’s classic novel To Kill a Mockingbird is so gripping that it’s easy to lose sight of the fact that the narrator is not the child Scout, but rather the adult that child has grown into. Her narration of what happened back when her father defended Tom Robinson explains how those events shaped her into the person she has become.

Older characters, those in the midst of that common malady known as mid-life crisis, sometimes engage in similar soul-searching. Anne Tyler’s 2001 novel Back When We Were Grownups begins with the memorable line “Once upon a time, there was a woman who discovered that she had turned into the wrong person.” The novel unfolds as this woman re-examines the purpose and significance of the life she has lived. 

Finally in this general category of the search for identity, there are the negative examples, the warnings. All of the following novels demonstrate what happens when people don’t fulfill society’s expectations for them:

• Kate Chopin’s The Awakening (1899)
• Edith Wharton’s The House of Mirth (1905)
• Patricia Highsmith’s The Price of Salt (1952; later republished as Carol)
• Anita Brookner’s Hotel du Lac (1984)
• Kent Haruf’s Our Souls at Night (2015)

As the range of publication dates of these novels demonstrates, this theme recurs across time. The expectations of the current societies differ, but the fact that society expects people to live in appropriate ways endures.

family

Growing up is a process of socialization, and that process begins at home at an early age. We spend our early years learning how our parents, our first representatives of society, expect us to act. Some of this instruction is overt: “Good children share their toys and take turns.” 

But some is much more subtle. In Beverly Cleary’s novel Beezus and Ramona, 9-year-old Beatrice (Beezus) Quimby finds her 4-year-old sister Ramona completely exasperating. One of Ramona’s exasperating actions is the frequent demand that Beezus read aloud Ramona’s favorite book, The Littlest Steam Shovel. Beezus can’t understand why Ramona loves this book so much. After all, “Girls weren’t supposed to like machinery.” This novel was published in 1955, a time when appropriate gender behaviors were well established: boys were supposed to play with tanks and trucks, while girls got dolls and dishes. 

Scott O’Dell’s 1960 novel Island of the Blue Dolphins includes the same gender assumptions. In this children’s novel Karana, age 12, gets left behind on a small island when the rest of her people decide to leave on a visiting ship. She realizes she’ll have to make everything she’ll need to survive, but she worries because her father has taught her that any weapons made by women will fail when used:

I wondered what would happen to me if I went against the law of our tribe which forbade the making of weapons by women—if I did not think of it at all and made those things which I must have to protect myself.

Fortunately, Karana is a brave girl. She makes the weapons and teaches herself how to use them.

Near the end of Beezus and Ramona, Beezus tells Ramona, “You can’t have jelly on your mashed potatoes, because you aren’t supposed to.” While current readers probably find this admonition less objectionable than the gender-based lessons, it still demonstrates that society expects children, as they grow up, to learn what they are “supposed to” and “not supposed to” do.

Children who grow up in an unstable home environment also learn lessons that will shape the rest of their lives. Novelist Paula McLain wrote recently about how her life in foster care, beginning at age 5, affected her later life:

At 18, when I aged out of the system, all I wanted was to reinvent myself as quickly as possible. Given a chance, I think I would have crawled out of my own skin, or even seared off my fingerprints. Whoever that throwaway girl was, I didn’t want to be her any longer.

—Paula McLain

A common type of stories told to young children is fairy tales, many of which function as subtle messages to teach children how to be in the world:

Much of what fairy tales give us are warnings about the people we encounter and the world we live in. We are told in fairy tales to be cautious of strangers, to be wary of those that may want to intrude into our lives, because we can never truly know what motives they may have.

—Cynthia Pelayo

Finally, dysfunctional-family variants have become a literary trope, particularly in the mystery and thriller genres, for examining how childhood memories and lessons mold us into the adults we become. A recent example is Girl A by Abigail Dean. The novel tells the story of the seven Gracie children, who suffered terrible abuse at the hands of two mentally ill parents. Girl A, the narrator of the novel, is Lex Gracie, the oldest girl, second-oldest child, who was 15 when she managed to escape and summon help. 

I remember very little about that time [immediately after the escape], and each of the memories seems exaggerated, as if I’ve taken somebody else’s story and imagined myself into the narrative.

The tale of the rescue of the children from the Gracie House of Horrors received extensive, sensationalized press coverage. Afterwards, the siblings were sent to separate families for adoption; they have not had much contact with each since.

Now, 15 years later, Lex is an attorney who must consult her siblings about settling the estate of their mother, who has died in prison. As she talks with each in turn, she realizes that each one of them has constructed his or her own version of a life story that explains what happened to them then and how they have lived their lives since. 

And this brings up one very important feature of life stories: each person’s is unique. If you’ve ever reminisced with family members and discovered that each of you has a very different memory of some notable family event (something like The Year Grandma Forgot to Cook the Thanksgiving Turkey), you’ve experienced this phenomenon first hand. Different people remember the same event differently. There are as many sides to any story as there are participants in the event.

And a corollary of this is that no one version of what happened is any truer than the others. They are all significant and meaningful to the person who created them. 

we are what we remember

Since we construct our life stories out of events as we remember them, the biggest threat to our sense of identity is amnesia, a major trope in psychological fiction. The best example is The Bourne Identity and sequels by Robert Ludlum. After the protagonist wakes up on a fishing boat with no memory of who he is or how he got there, readers follow along as he searches to fill in the blanks of his past and construct a new future. S.J. Watson’s novel Before I Go to Sleep follows a similar pattern as readers follow Christine’s journey of self-rediscovery.

While both Ludlum and Watson use the amnesia trope to set up a menacing, life-or-death situation, Liane Moriarty paints the story of recovering one’s identity with a lighter brush in What Alice Forgot. While loss of identity can be frightening and threatening, as it is for Jason Bourne and Christine, it can also offer an opportunity for renewed self-knowledge and acceptance, as it does for Alice.

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inside stories vs. outside stories

I’ve been saying that our life story builds our sense of self, but, if we’re honest, we all know that we have several selves. The biggest distinction is between our public self—the self we show the world—and our private, interior self. But we actually have many selves—we act differently at a job interview than at a wedding, at a dinner in the in-laws’ house than at a night out with our best friends. There is nothing wrong with such situational awareness and appropriate behavior.

But problems can arise when someone’s public and private selves diverge widely because underlying life stories can drive behavior despite the public face. This is probably the aspect of narrative identity theory most often explored by writers of psychological fiction. 

In my view, the fascination for psychological thrillers can be explained in part by the fact that they deal with one of the last unexplored universes of all, one we carry right inside us: the human mind.

—Sebastian Fitzek

One of the best examples of such a novel that I’ve read lately is The Silent Patient by Alex Michaelides.

imposters

Narratives featuring imposters could be considered a subgroup of inside vs. outside stories. Imposters can have many motivations for assuming a false identity. Like Tom Ripley in Patricia Highsmith’s novel The Talented Mr. Ripley and its sequels, they may want a life that’s fancier, richer, and more empowered than their own. 

Or the reason may be more mysterious, as in The Passenger by Lisa Lutz, which is divided into sections labeled with the names of the narrator’s various assumed identities. In this case the narrator’s reason for these frequent name changes drives the plot because, as interesting as her process for finding and taking on new identities is, what we really want to find out is why she has to live this way.

hidden identities and secrets 

Another subgroup of inside vs. outside stories involves characters suppressing, hiding, or ignoring some part of their lives. Such novels allow readers to understand the causes and reasons for a character’s behavior. 

The most powerful of these books illustrate the old adage “don’t judge other people unless you’ve walked a mile in their shoes.” These novels help us develop compassion and empathy for others. Some of the most powerful examples I’ve read include Never Have I Ever by Joshilyn Jackson, Mystic River by Dennis Lahane, and A Little Life by Hanya Yanagihara (scroll down to #4).

creating or controlling one’s own narrative

We now live in an era in which groups (such as women, indigenous people, refugees, and immigrants) whose voices have been silenced in the past are asserting their right to tell their own stories. One of the phrases that appears often in this context is “taking control of one’s own narrative.” 

Julie Clark’s novel The Last Flight includes an example of how one woman uses this terminology. Claire Cook is married to the handsome son of a wealthy and politically powerful family. Claire’s husband thinks he owns her, body and soul, and controls her access to money, friends, and the outside world. Beneath the veneer of family and fortune, Claire must contrive an elaborate plot to escape, because no one believes her story of abuse. “If we don’t tell our own stories, we’ll never take control of the narrative,” she explains near the end of the novel.

Though we frequently see women’s rape and bodily harm on screen and in literature, what we don’t often see is women’s anger in response to such violations. And this erasure of rage can paint both the trauma and the victim’s reactions as “unbelievable.”

—Rachel Zarrow

cultural appropriation

Cultural appropriation, the question of who has the right to tell which stories, has been in the news a lot recently. This issue is a subcategory of controlling one’s own narrative. The controversy over the publication of the novel American Dirt in 2020 is a prominent example (scroll down to #2 for a recap).

“American Dirt” has also sparked an emotional discussion about how far the publishing industry still must go to more richly represent the scope and diversity of the Latino experience, said authors, literary agents and other industry figures in interviews. . . . It’s a discussion focused on a complicated question: Who gets to frame others’ stories, and how?

—Daniel Hernandez

change your story, change your life

Individuals can’t change the events of their lives, but they can change how they  react to them. 

The events of your past are fixed. The meaning of your past is not.

The influence of every experience in your life is determined by the meaning you assign to it.

Assign a more useful meaning to your past and it becomes easier to take a more useful action in the present.

—James Clear

This theme plays out in Australian author Jane Harper’s recent novel The Survivors. Kieran Elliott’s whole outlook on life changes when he learns the truth about a devastating event that occurred when he was a teenager. That new knowledge eases his guilt and allows him to step into his future life—marriage and fatherhood—as a new man.

presentation of alternate life options 

One of the psychological functions literature can perform is to allow readers to observe what happens when a character does a particular action. Reading lets people play out different scenarios in a safe environment. Literature can also paint for readers a picture of what someone else’s life is like. Such observation can offer new possibilities or increase understanding of current situations. 

One such new possibility is the coming together of previously isolated adults into an informal family that benefits them all. A couple of novels that demonstrate this happening are Our Souls at Night by Kent Haruf and Broken for You by Stephanie Kallos.

Another area in which literature can help promote understanding is in the presentation of mental illness. Books that make an effort to present accurately the experience of people with various mental health issues include The Bell Jar by Sylvia Plath, The Vanishing Act of Esme Lennox by Maggie O’Farrell, and Turtles All the Way Down by John Green.

Literature’s ability to demonstrate life scenarios is especially important in multicultural societies because it can encourage understanding, which in turn can increase compassion and empathy toward people who are different from ourselves. This was the basis behind much of the controversy over the publication of American Dirt, a novel that many Latinx authors said contains stereotyped characters and inaccuracies about the actual experiences of people who entered the U.S. from Mexico. 

The #WeNeedDiverseBooks movement, also related to the issue of cultural appropriation, has arisen to advocate for the publishing industry to produce more books by refugees and people from ethnic minorities. Literature can also provide life-option scenarios for groups who have traditionally been marginalized by society, such as multiracial and non-heterosexual individuals. The need here is especially great for books aimed at young people searching for role models who mirror themselves as they develop their self-concept.  

possible alternate selves

A more focused variant of alternate life options borrows the concept of multiple parallel universes from physics to explore the concept of other possible but unlived lives. 

“That idea of an alternative life, parallel life, alternate universes, has always haunted me . . . It haunts a lot of us who are refugees from Vietnam, what our lives could’ve been, and so I think that sense saturates my fiction and my nonfiction.”

—Viet Thanh Nguyen

I don’t read a lot of science fiction, but these recent novels have introduced me to the whole new world of alternate selves: Dark Matter by Blake Crouch and The Space Between Worlds by Micaiah Johnson. 

highlighting turning points or major life decisions 

Many people have had a significant life experience that makes them think of their lives in two parts: “life before _____” and “life after _____.” Such dramatic turning points often figure in literature because they force characters to adapt and accommodate. We expect to watch characters change because of these often traumatic events. 

Such changes may be positive. Examples of novels in which post-traumatic growth occurs include Blue Diary by Alice Hoffman (scroll down to #4), The Knitting Circle by Ann Hood, and The Secret Life of Bees by Sue Monk Kidd.

Or such life-changing events might produce negative effects, such as in the second half of Adrian McKinty’s novel The Chain.

where, when, and why/how lives intersect

Other significant life experiences involve meeting someone who has a great effect on us. This effect may be either good or bad. Some novels in which the effect is good are A Little Life by Hanya Yanagihara  (scroll down to #4), A Constellation of Vital Phenomena by Anthony Marra, and How It All Began by Penelope Lively.

A meeting with someone that turns out badly is the stuff thrillers, particularly domestic thrillers, are often made of. A notable example is You by Caroline Kepnes. Other examples are The Perfect Stranger by Megan Miranda, The Pigman by Paul Zindel (scroll to the bottom), The Story Sisters by Alice Hoffman, and Then She Was Gone by Lisa Jewell.

multiple points of view

The last 30 years or so have taught us that memory is slippery and that different people perceive and remember events differently. Along with these discoveries has grown the novel narrated from more than one perspective. The use of more than one point of view can create tension, suspense, and ambiguity.

Use of multiple perspectives has therefore become a staple of action books such as mysteries, thrillers, and spy novels. Examples include The Good Girl by Mary Kubica and Miracle Creek by Angie Kim.

rewriting history 

History is told by the victors or the dominant culture. For centuries this meant that history was written by men, with very little inclusion of women’s voices. A big movement in current literature aims to correct this error with books about historical events that present women’s perspectives to complement the existing record.

Women’s History Month, declared each March by a presidential proclamation, began as an effort by five women, most of them teachers, to “write women back into history.”

—ABC News

The first book I remember reading in this category is Anita Diamant’s 1997 novel The Red Tent, which expands on the mere mention of Dinah in the Bible. Other titles include Circe by Madeline Miller, which gives voice to a character from Greek mythology, and Hamnet by Maggie O’Farrell, which narrates the death of Shakespeare’s only son from the perspective of his mother, about whom very little is known.

Writers are also now writing to insert another large group back into history: formerly enslaved peoples whose stories have been expunged from the dominant cultural narratives, for example, Colson Whitehead’s novel The Underground Railroad. Members of other groups whose lives don’t conform to the traditional normative dominant culture’s expectations also are speaking up, in both nonfiction and fiction, as discussed above under presentation of alternate life options.

The fictional use of life story elements can make characters more believable and compelling.

But this doesn’t mean that large numbers of writers have begun studying narrative identity theory in order to embed its various forms in their novels. Novelists have always been storytellers interested in how their fictional people understand themselves and interact with the world they live in. 

And throughout its history, the novel has provided storytellers with the means to explore the human psyche. I’ve always been fascinated with the interrelationship between literature and psychology, and narrative identity theory provides the insight and terminology to express and explain that relationship. 

Since most writers intend for their fictional characters to be proxies of their human counterparts, it arguably makes sense to examine and understand their characters through many of the same scientific models used by psychologists to understand real people. More specifically, the field of personality psychology is likely to be especially illuminating because writers characterise their fictional personae by describing their thoughts, feelings, motivations and behaviours – the exact same set of factors that psychologists see as making up personality.

—Kira-Anne Pelican

© 2021 by Mary Daniels Brown