My project, Forever Yours, is a response to considering how to write a memoir about a dead subject who you never knew. In this case, the dead subject is my grandfather Dick – a man who is essentially a stranger to me, yet has had a profound impact on my life through the memories of others. Hence, the exegesis explores the methods I adopted in order to engage with this problem most effectively. The rst chapter establishes my understanding of ‘traditional life-writing’, and how I interpret it to prioritise the telling of a whole life in chronological order. This leads to me justifying my decision to write a memoir, where Sven Birkerts’ proposition of handling memory and time accommodates my writing practice. In the second chapter, I investigate multiplicity in memoir – more specifically, the methods I can apply to balance my own narrative while simultaneously exploring Dick’s life. I found these methods primarily in the practices of American writer Joan Didion and critic Maggie Nelson, whose respective approaches to self-reflection and structure I interpreted and applied to Forever Yours. Finally, I describe my engagement with memory studies over the course of the year. This nal chapter deals with Annette Kuhn’s method of authoring one’s own family history – a method which allowed me to dismiss a fear of lack of authority in writing this narrative; providing me with the permission I craved to feel like this was my own story to tell.