The author discusses chosen families, queer lineages, and the lack of adequate language for mental health
is filled with ghosts. Possessed from the opening few pages with the lingering phantom of the past, it’s a book that is not only preoccupied with Hewitt’s own narrative but also the lives, stories and spectres of shared histories that shape us into who we might become – as he writes in the opening few pages, “Everything, once you start to look, is haunted.”
This is evident in the memoir’s narrative threads, namely Hewitt’s preoccupation with the life of Gerard Manley Hopkins, a Victorian-era Jesuit priest and poet who struggled with his sexuality and who acts as something of a temporal guide throughout.
“RuPaul might talk about choosing your own family, but I think choosing our own imagined spectral ancestors is a really important way of connecting to our own history” – Seán HewittI began writing this book with the very first scene that you have in the book, which is in the graveyard, and my original thought was that I would meet the ghost of Hopkins in this graveyard, in Liverpool where he used to live.
That led me to think about what else we inherit from people that is not biological. I say towards the beginning of the book, ‘I realised my history was not my own’. That could be a debilitating realisation, but there’s also something incredibly freeing about it as well in that it reaches out into community and you realise that, fundamentally, the memoir cannot just be a history of you because you don’t produce yourself.
“There is terrifying sex, there is sex as an expression of love or sex in a loving relationship, there is sex that is exploratory, and sex that is, I think, multifaceted” – Seán Hewitt AK: The memoir deals with some difficult periods in your life. What was it like revising those moments?
Belgique Dernières Nouvelles, Belgique Actualités
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