Teaching resources via publisher's website.
'Often in immigrant literature, the familial landscape or homeland is considered a traumascape, which as Maria Tumarkin explains, is a place ‘marked by traumatic legacies of violence, suffering and loss’ (2005: 12). For many first-generation immigrants and refugees forced into leaving their homelands, the familial traumascape is also trapped in a past that no longer exists, or exists only in memories that are subject to traumatic ‘visual and sensory triggers’ (Tumarkin 2005: 12). This paper will show how second-generation immigrant writer Alice Pung has used her father’s first generation trigger memories of place in her memoir Her Father’s Daughter (2011) to direct her own writing. A textual analysis of the father’s present day narrative will reveal details of the traumatic events of an unliveable homeland and the intergenerational impact of this familial traumascape on his daughter. It will also discuss how, at the heart of Her Father’s Daughter, is the Barthesian idea of the punctum and its connection with testimony; and how the father’s homeland or familial landscape becomes the traumatic wounded site of painful trigger memories. Examining the writing from the site of the wound, this paper shows how the father’s traumatised memories of his homeland are able to be transformed as postmemories of place and belonging for the second-generation/daughter in her memoir.' (Publication abstract)
'This paper analyses the memoirs of Australian writer Alice Pung in the contexts of her suburban Melbourne upbringing, her parents’ status as refugees, and Cambodia’s Pol Pot period. The author discusses the changed way Pung deals with the Pol Pot period from Unpolished Gem (2006) to Her Father’s Daughter (2011), and in particular the necessary disjointedness that is a consequence of the latter memoir’s more direct and deep focus on Pung’s father’s experiences during the Pol Pot period. The author concludes by locating Pung’s works, particularly Her Father’s Daughter, among various other memoirs of the Pol Pot period, including poet U Sam Oeur’s memoir, Crossing Three Wildernesses (2005). Placed among other memoirs of survival and loss, the author suggests, Pung brings a distinctive perspective as the child of a survivor of the Pol Pot period.' (Publication abstract)
'Alice Pung’s postmemoir of the after-effects of political violence maps a discursive trajectory from (1) her father’s survivor memory of the Cambodian genocide, to (2) her own postmemory as a second-generation Asian-Australian, to (3) the latter’s remediation as social memory within the Australian (trans)national imaginary. Hirsch describes the family as ‘the privileged site of the memorial transmission’ of trauma. In Her Father’s Daughter, Pung parallels the heroic narrative of her father’s survival of ‘a real and bloody social revolution’ (HFD, 48) with the more modest narrative of her own embodied travails with ‘authentic feeling’ (21) regarding her affective connectivity with her extended family and the cultural and geographical landscapes they inhabited. Her postmemorial journey is one into her own heart, variously described as ‘a deformed dumpling’ (28) and ‘rotting fruit’ (32). Literary texts such as Pung’s can bring about the timely reanimation of the post-settler state’s archives through investing them with familial forms of mediation and aesthetic expression. In Her Father’s Daughter, disaporic subjectivity is articulated through the mapping of transnational and transgenerational histories.' (Publication abstract)
'Alice Pung’s postmemoir of the after-effects of political violence maps a discursive trajectory from (1) her father’s survivor memory of the Cambodian genocide, to (2) her own postmemory as a second-generation Asian-Australian, to (3) the latter’s remediation as social memory within the Australian (trans)national imaginary. Hirsch describes the family as ‘the privileged site of the memorial transmission’ of trauma. In Her Father’s Daughter, Pung parallels the heroic narrative of her father’s survival of ‘a real and bloody social revolution’ (HFD, 48) with the more modest narrative of her own embodied travails with ‘authentic feeling’ (21) regarding her affective connectivity with her extended family and the cultural and geographical landscapes they inhabited. Her postmemorial journey is one into her own heart, variously described as ‘a deformed dumpling’ (28) and ‘rotting fruit’ (32). Literary texts such as Pung’s can bring about the timely reanimation of the post-settler state’s archives through investing them with familial forms of mediation and aesthetic expression. In Her Father’s Daughter, disaporic subjectivity is articulated through the mapping of transnational and transgenerational histories.' (Publication abstract)
