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Like any form of narrative writing, memoirs mediate experience. Unlike fiction writers, however, memoirists – as well as documentary filmmakers and journalists – are faced with the challenge of living up to their own claims to bear witness to events in the world beyond the text. Each in their own ways, must navigate the obstacles that necessarily stand between human individuals and those events: the practices and techniques of representation that not only make self-experience and experience of the objective world possible, but do so at the price of standardising or limiting them. Stories are narrated: framed, edited and pitched at a readership. 
When the famously acerbic American novelist Gore Vidal (1925-2012) wrote a memoir, he gave it the title Palimsest (1995), which is the term for a document that has been subjected to multiple physical revisions. This practice comes from a time before the printing press, when manuscripts were written on parchment or velum, which were materials too expensive to be bought fresh for each occasion of writing. It was therefore common for writers to scratch out existing words and add their own. Over time, a document might be so covered in these accretions, that its original words and meaningful purpose were all but lost in a jigsaw or kaleidoscope of fragments. Vidal’s point was that the past – even one’s own – is mediated through retellings.
The connections between practices of representation and memory were also noted by the neurologist Oliver Sacks (1933-2015): ‘memories… are transformed, disassembled, reassembled, and recategorized with every act of recollection’; ‘every act of perception is to some degree an act of creation, and every act of memory is to some degree an act of imagination’; ‘We speak not only to tell other people what we think, but to tell ourselves what we think. Speech is a part of thought.’ 
Clive Staples (C.S.) Lewis (1898-1963) is best known as the author of fantasy children’s books, such as the Chronicles of Narnia series, the first of which was The Lion, the Witch and the Wardrobe (1950) (right). The books – which have had numerous iterations in different media – tell the story of four English children evacuated to the countryside during WWII. Most of the action takes place in the magical land of Narnia, which the children access via an ordinary-seeming wardrobe. Narnia and its inhabitants, including talking animals, are ruled by the evil White Witch. Her nemesis is the noble lion Aslan, who sacrifices himself to save one of the children, before being resurrected. Lewis often used the narrative form of the allegory to imbue his stories with such Christian themes.  
In addition to being an author of children’s fantasy novels, Lewis was a Cambridge academic and a friend and colleague of J.R.R. Tolkien. 
Lewis was a poet, the author of other kinds of novels, as well as an essayist and theologian. He was born in Ireland to parents who were Anglican, but only nominally so. As an adult, he was for a time an atheist, before converting to Anglicanism, which he embraced with an intensity that is often found in converts. He told the story of this conversion in the book Surprised by Joy (1955).

 


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