Weaving memories of his African upbringing, his Jewish-immigrant parents, his marriages and what it was like to live in "crazy-sensible L.A". during the 1992 riots, it earned good notices, including one in the New York Times that called it "partial but intense, more rumination than narrative".
Beck's daughter Julia Huang accompanied her to Iran from the age of five, and in effect grew up as a Qashqa'i; she has since become a qualified anthropologist and contributed a further excellent, and complementary, monograph of her own: Tribeswomen of Iran: Weaving Memories among Qashqa'i Nomads (Huang 2009).
But his work has been recognised by Bristol's art world: the Arnolfini gallery is stocking the book and Garth's drawings have been installed in the Bristol archive, where they will continue to weave memories into civic history.
Bird, a Pulitzer Prize-winning co-author of "American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer" (2005), weaves memories of his years as the son of an American diplomat in Israel, Saudi Arabia and Egypt; a condensed history of the region during that period; and dramatic stories of his wife's parents, Holocaust survivors who escaped Nazi Austria.
The mayor exhibited his knowledge of history, weaving personal memories with what he had learned in books.
Weaving together memories of fighting in the Baltic forests and the chronicle of a rapidly weakening body (at a certain point his vocal cords are cut out), Kovner meditates on the possibility of heroism in the face of illness.
Instead the longtime "60 Minutes" anchors sit around a table with Mr. Hewitt and reminisce, weaving their memories around clips of famous moments from "60 Minutes" and also other programs on Mr. Hewitt's résumé, including the 1960 Nixon-Kennedy television debate, which he produced.
And he has woven their memories into a potent, humanizing mixture of the epochal and the mundane.
Perhaps what the company wants to do is weave war memories from both sides of the conflict so as to dress still-open wounds.
Having gathered eyewitness accounts of individual stories of the war in the course of her research, Ms. Aksamija then wove these memories and experiences into what is in effect a narrative carpet, with traditional kilim symbols now transmuted, for example, into the forms of barbed wire, mines, hand grenades and rockets.
It weaves the memories of people who grew up in east London and have lived on the estate since it opened into a silvery thread of meaning illuminated by dramatisations of their experiences filmed in the aged, but dignified, Woodberry Down buildings and public spaces.
