In her book Victims' Stories and the Advancement of Human Rights, Diana Meyers offers a careful analysis of victims' stories as a narrative genre, and she argues that stories in this genre function as a call to care: they both depict a moral void and issue a moral demand, thereby fostering the development of a culture of human rights. This article, while finding Meyers's articulation of this idea compelling, questions Meyers's account of how victims' stories do their moral work. Whereas (...) Meyers argues that victims' stories are complete narratives, characterized by a distinctive form of closure, it suggests that the moral power of victims' stories may lie in part in their open-endedness or lack of closure. In telling their stories, victims engage their audiences in a new moral relationship and implicitly give them a role to play in bringing about the moral closure they seek. (shrink)

In a recent article, Ratcliffe and Byrne (2022) propose a multifactorial phenomenological account of the influence of narrative on grief. Specifically, they argue that certain kinds of narrative can help navigate and negotiate the phenomenological disturbance of practical identity associated with bereavement. In this critical note, I identify and discuss two problems of their account. First, Ratcliffe and Byrne’s (2022) considerations rest on conceptually ambiguous distinctions between different narrative categories (the conceptual ambiguity problem). Second, their account appears to neglect the (...) variability of both grief experiences and different kinds of narrative engagement (the variability problem). These problems need to be resolved to make progress in understanding the influence (if any) of narrative engagements on the phenomenology of grief. (shrink)