This is the first is a series of short excerpts from each chapter of Beginnings: Interrogating Hauerwas edited by Leixlip lad Kevin Hargaden.
The outline of the book is in this post.
In this excerpt, Brian Brock asks Hauerwas about his method of writing his autobiography, Hannah’s Child.
BB: Having talked a bit about the question of why you wrote the memoir, let’s talk more seriously about how you went about doing it.
For instance, in every presentation of the self in writing, the writer has to locate herself within the conventions of the culture and the writing, identifying the canon which the writer wishes to join. You’ve already, as you do in the book, talked about Trollope being your model in a sense. To write is to opt into all the exclusions and elisions that positioning oneself within a canon demands. The ambiguity of all confessional, autobiographical, or memoir writing lies in the writer having to inhabit those conventions, the conventions of the day, and therefore to present themselves as inevitably artificial constructions. Writing in this way necessarily straddles the fuzzy boundary between literary convention and personal memory, and memory
itself is organized by conventional tropes and frames of reference. I take this to be one of the core reasons that you’ve resisted the comparison of Hannah’s Child to Augustine’s Confessions , and you only very guardedly and partially embrace this connection in your responses to those reviewers who have suggested it. You proposed instead that you stand closer to the tradition of the English realist novelists. That’s a positioning in relation to an established canon that I’d like to understand how to negotiate.
You’ve already said that you thought long and hard about how to write the book and the core question there had to be of what form would convey rather than threaten what you believe is most important about the particularity of your own life and theology. Is that right?
SH: I think that’s right. It’s lovely put.
It’s always important to try to read an author for what they don’t say, as well as what they say. There’s much in Hannah’s Child that isn’t said. I tried to avoid the “personal,” because I didn’t want— and this has to do with the point I made at the outset today— I didn’t want Hannah’s Child to be a legitimation of “my experience.” So I didn’t talk very much about my experience.
I didn’t notice a trope that is much used when I was writing the book, but folks kind enough to read the book have called my attention to it. The trope “I didn’t understand.” For example, I say I didn’t understand what it meant to go to seminary, I didn’t understand what it meant to marry Anne, and I didn’t understand what it meant to move from Notre Dame to Duke. I didn’t. I really didn’t, because I’m the kind of person that tends to make decisions and be willing to live them out, without having thought them through! That has worked out OK for me. I’ve talked with friends in the academy who have had a job of offer, and they use phrases like, “I’m not sure this would be a good career move.” I could never use a phrase like that. It’s never occurred to me that I have a career that I needed to be one place rather than another for the advancement of a career. My life has happened to me. That’s a wonderful thing. (8)