One way she accomplishes this is by employing reflection. Like forming a braid, Harrison first introduces the main strand – her father – by summarizing the interactions between the two of them during their travels together – then deftly weaves in a secondary strand. The main one being her father, followed by secondary threads: Harrison’s mother, her grandparents, and her struggle with Anorexia Nervosa. How do writers transition from one layer (in this essay I use thread, strand, or filament) of a narrative, then successfully return to the main, or grounding thread? In Kathryn Harrison’s memoir, The Kiss, an account of her incestuous affair with her father, there are at least four threads woven throughout the book. Home » Writing » Weaving Together a Memoir: A Critical Analysis of ‘The Kiss’ by Kathryn Harrison Weaving Together a Memoir: A Critical Analysis of ‘The Kiss’ by Kathryn Harrison
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