Crying in H Mart: A Memoir

In her memoir entitled Crying in H Mart, Michelle Zauner recounts her memories with the mother in a narrative discourse that celebrates the evolution of cognition through communication with dolls, figurines, music, songs, Korean folk food, and the joyful tones of bodily experiences in her contact with reality, nature, home, and markets. And counter these joyful experiences themselves by detailing the mother's struggle with cancer, replacing the body that represented the joy and creative bustling life with emptiness; hence, the speech includes a postmodern Nietzsche feature in the narrative alternation between the joy of foods and the current of life and singing and the predominance of suffering experiences in laboratories and hospitals.In addition to the poetic connection between these themes in the discourse, the author implicitly confirms the intercultural communication in the relationship between the space of South Korea and the space of Philadelphia in the context of transforming cultural experiences into aesthetic experiences and tones in unconsciousness and in the act of singing, and storytelling that takes the form of a monologue that leads to understand and interpret being through the destinies of others, which reminds me of Paul Ricoeur's viewpoint on narrative identity.

Consequently, Michelle Zauner presents a narrative discourse that reinterprets the tragedy and transforms it into new individual feminine tones and rhythms that we can reveal that harmony emphasizes the communication between self and the other through images, songs, dreams and food dishes with unique creative formation repeated.

Additionally, the writer chose to narrate the memoirs in the first person pronoun;To confirm the hypothesis of the formation of her individual creative existence and the continuity of communication with the mother’s voice as an archetype in the collective unconscious, as well as it places us within the shifting tones and impressions of memories, and then the experiences of the self and the other remain in a continuous state of linguistic narrative and pragmatic communication, emphasizing the idea of cooperation around the affirmation of the creative individual spirit that may relate to the dead aesthetically and dreamily.

Finally, Michelle Zauner’s discourse confirms three main inferential arguments: the continuity of creative communication with the mother in figurative places and through the improvised language of the monologue, the ability to develop oneself within the aesthetic effect of memory in the presence, and the implicit reference to the cycles of existence and their alternation between joy, creation, suffering and spiritual communication.