OXFORD/NEW YORK— Berghahn has announced the publication of Lives in Fragments: Self-Narrative Sources and Biographical Approaches to the Armenian Genocide, edited by Eren Yıldırım Yetkin, Nazan Maksudyan and Adnan Çelik. The volume embarks on an intricate exploration of biography, memory, and the legacies of violence. By focusing on life stories, it highlights contested memories and counter-narratives, offering new perspectives on the social dynamics that led to genocidal violence, its remembrance, and denial. Lives in Fragments emphasizes lives fragmented and shattered by the Armenian Genocide, providing a nuanced understanding of its complex historical and social dimensions. Diverse autobiographical sources are analyzed in chapters that examine both the historiography and remembrance of the genocide.
The book is structured into three parts, each tracing a distinct trajectory in the study and experience of the Armenian Genocide:
Part I: Methodological Questions on Biography, History, and Memory
This section opens with reflections on the intersection of biography and memory. Lena Inowlocki and Eren Yıldırım Yetkin address methodological challenges scholars face when navigating personal and collective memories. Nazan Maksudyan focuses specifically on biographical approaches to studying the Armenian Genocide, establishing the theoretical and methodological foundations for understanding individual lives amid historical cataclysms.

Part II: Lives in Genocide
This part turns to the lived experiences of survivors and witnesses. Fatma Müge Göçek provides a foreword framing the narratives. Boris Adjemian examines the life of a survivor in exile, emphasizing the role of libraries and writing in reconstructing a fractured self. Nazan Maksudyan presents the biography of Johannes Jakob Manissadjian, showing how knowledge, nature, and dispossession shaped a life interrupted by genocide. Bedross Der Matossian recounts Sahag II Khabayan, Catholicos of Cilicia, as a witness to massacres. Talin Suciyan and Paul Vartan Sookiasian trace the ongoing exile of Sourpik Tekian. Vahé Tachjian concludes by exploring how post-genocide Armenian memory is preserved and expressed through song, dance, and photography.

