Traumatic events such as the Holocaust transcend through generations. Hirsch strengthens this argument by saying that post-memory is a study of the structure of intergenerational and trans-generational memory transmission in the form of traumatic knowledge and experiences. This study raises the meaning of memory transmission in the Dora Bruder novel by Patrick Modiano. The method used in this article is the content analysis of the story. The data are collected form of sentences that describe the meaningful forms of memory transmission. There are three interpretations from the results of memory transmission. They are the narrator’s interpretation of a location as signifiers of the incommensurability of return, the narrator’s interpretation as an agent and actor of allo-identification, and the emergence of a desire to reject the act of forgetting. Analysis using post-memory illustrates that the generation of heirs to the traumatic memories inherits various challenged and debated questions, intending to expose and retell that story to the public.

<p class="Abstract">Such cultural experiences have a possibility to be embedded in a memory of one generation. But there are mostly in form of traumatic experiences. And then, we learn that these memories could be transferred onto their children, or we could say it as “post generation”. In the novel <i>Dora Bruder</i>, such things happen when the author, Patrick Modiano, plays his attribute in composing genres to arrange and transfer his message. The story mainly concerns as the narrator try to find a missing girl named Dora Bruder. She was gone in 1941, or in the moment when Nazi was occupying France. This research aims to discover the relationship between the role of genre on emerging the message, particularly the traumatic ones by using the concept of genre and postmemory. From the analysis we conclude that Modiano use genres to transfer his message traumatic. It exists in form of the impression of absence. From the sensation of absence, he continues to transmit consecutively another impression of hollow, doubt, and also hope. For transferring his message and memory, Modiano mixes real documents and his fiction. He manifest them by constructing a story of another person and narrating it from the first-person point of view. He uses this technique to identify himself, because the “shared idea” of one’s could be related with another’s.</p>