“…This is because, being driven by guilt and remorse, David unintentionally ratifies through his story his inalienable connectedness to the multiple histories in which he half-heartedly feels complicit. Notwithstanding its internal turbulence, this phenomenon reveals itself as 'fantastical', that is, in terms that recall Jacqueline Rose's (1996) concept of 'fantasy'. This is the kind of memory that is 'never only inwardturning; [but] always contains a historical reference in so far as it involves, alongside the attempt to arrest the present, a journey through the past' (Rose 1996, 5).…”