Precisely the place to which our eulogist finally puzzles her way: her own mixed feelings. First she sees that she has them. Then she acknowledges them to herself. Then she considers them as a way into the experience. Then she realizes they are the experience. She begins to write.

Penetrating the familiar is by no means a given. On the contrary, it is hard, hard work.

In each case the writer was possessed of an insight that organized the writing, and in each case a persona had been created to serve the insight. I became enraptured, tracing out the development of the persona in memoir after essay after memoir (it was out of this rapture that I realized I was a nonfiction writer). I began to read the greats in essay writing—and it wasn’t their confessing voices I was responding to, it was their truth-speaking personae.

We’d realize the writer is struggling to make sense of feelings whose complexity he acknowledges. The struggle alone would have made the subject vital.

Clearly, the piece was on its way. It was simply the repeated act of asking, What is this all about? that had led the writer to the point of view that had released the narrator and focused the subject struggling to emerge from inchoate material.

I couldn’t latch on to a thought and then be carried by it as it moved into new territory. To do that, I think you need a narrative self inside you connecting you with experience, telling you how you fit into the subjective encounter with what you’re seeing and attaching whatever significance it might hold for you.