What the Body Remembers

Have you ever smelled something—roasted sesame oil, an old book, sun-warmed vinyl seats—and been transported straight back to a moment you hadn’t thought about in years? It’s not just nostalgia; it’s your body remembering. Science tells us that memory doesn’t live solely in the brain. It resides in scent, in texture, in posture, in the small details our bodies carry long after our minds forget.

In this post, we explore what it means to remember through the body. We reflect on how childhood memories—especially the ones that return without warning—can guide, comfort, and challenge us. And we offer practical ways to begin reconnecting with those stories, not just with your head, but with your senses.


The Memory Lives in the Muscle

Think back to your childhood. Not a specific story, but a sensation: the weight of a winter coat zipped too high, the sting of a scraped knee, the burnt sweetness of barley tea. These aren’t just random memories—they are the body’s bookmarks.

Neuroscientists have shown that sensory memory—especially smell and touch—are directly connected to the brain’s limbic system, where emotional memory is stored. That’s why a whiff of your grandfather’s cologne or the feel of a school desk under your fingers can bring back a whole world in an instant.

But there’s more than brain chemistry at work here. Cultural anthropologists have long studied “embodied memory”—how traditions, movements, even emotional habits are passed on and retained physically. If your mother always hummed while doing the dishes, you might find yourself doing the same without realizing it. Not because you decided to—but because your body remembers.

The Stories That Never Got Written

For many of us, childhood stories live under the surface. They’re felt rather than told. We remember the rules of the house through our posture. We recall a sibling rivalry not through a specific argument, but through the tension in our shoulders when that sibling calls.

Some of these memories were never spoken aloud. Maybe the adults around you didn’t talk much. Maybe no one asked. Or maybe certain experiences were too confusing to explain. But those moments left traces.

In our work preserving life stories, we often hear people say, “I don’t know what stories I have.” But once they begin with something small—a smell, a sound, a gesture—the rest follows. That’s not just memory. That’s narrative emerging from the body’s archive.

Sensory Prompts to Access Memory

Want to access these deeper, older memories? Here are a few prompts to try:

  • Smell: Open an old spice jar or childhood shampoo brand. What images come back?
  • Touch: Run your fingers over tree bark, corduroy, cold metal. What does your body recall?
  • Sound: Listen to a school bell, a cassette rewinding, a lullaby. What room are you in?
  • Taste: Eat something your caregiver made. Not the gourmet version—their version.
  • Movement: Mimic a childhood habit—jumping a crack in the sidewalk, tracing wallpaper patterns. How does it feel?

These are not just creative exercises. They are portals. Your senses are time machines, capable of returning you to places your mind forgot.

When Memory Is Painful

Of course, not every memory feels good. The body also remembers fear, confusion, or shame. A slammed door can bring up feelings long buried. A childhood smell might trigger unease instead of comfort.

That’s why revisiting embodied memory should be done gently. You don’t need to force recall. Let what surfaces come without judgment. And know that even difficult memories, when held with care, can offer insight. They show what you survived. They explain how you learned to move through the world.

Sometimes, these memories explain habits we didn’t understand—why we avoid certain sounds, why we tense during holidays, why we cry at smells others barely notice. When we listen with compassion, we start to see the full shape of who we are.

Sharing the Unspeakable

One of the most powerful parts of embodied memory is that it often reveals stories that words never caught. And when we begin to tell those stories—even haltingly—we give others permission to do the same.

A woman once shared a memory of her grandmother’s cracked hands washing rice. She had never thought of it as a story, but as she described it, she realized how much it said: about sacrifice, care, repetition, and silence. Her whole family came to see her grandmother differently.

Stories like this don’t need plot twists. They don’t even need beginnings or endings. They just need presence. If someone you love tells you, “I don’t have a story,” try asking them, “What does your body remember?” Then wait.

The Practice of Remembering

Memory is not a file cabinet; it’s a garden. It needs tending. It grows best when we return to it with curiosity, not judgment.

Here are a few practices to nurture embodied memory:

  • Take a “sensory walk” through your home or neighborhood. What do your senses pick up?
  • Keep a memory journal, not for events, but for impressions—textures, sounds, smells.
  • Share one small physical memory with someone close. A gesture, a sound, a scene.
  • Ask elders in your life to describe how something felt—not just what happened.

You’ll find that memory begets memory. One scent leads to a room, that room leads to a feeling, that feeling to a story. The past unfolds not in sequence, but in pulses.

Remembering Forward

Ultimately, the stories we tell aren’t just about the past. They shape how we walk into the future. When we recover the sensory threads of childhood, we reclaim a sense of self that is grounded, complex, and deeply alive.

And in doing so, we offer something lasting—not just for ourselves, but for those who come after. They, too, will one day ask: What did my parents or grandparents feel? How did they carry memory?

Let’s leave them something textured. Something real. Let’s give them what the body remembers.

Portraits in Motion: Why Biography Still Matters

Reading Parul Sehgal’s “Can You Ever Really Know a Person? Biographers Keep Trying”
By StoryTable Journal

By the time you’ve read a hundred pages into a good biography, you begin to feel the pull:
that uncanny sensation that someone else’s life has become your own. You look up from the book and the streetlights, your coffee mug, even the shape of your day feels somehow shaped by the choices of a long-gone stranger.

Parul Sehgal, in her elegant June 13 New York Times essay, dives deep into this phenomenon—not just how we read biographies, but why they endure. In an age of shrinking attention spans and minimalism across media—shorter books, smaller casts, quicker endings—biography remains proudly maximalist. “Fat, splendid and wholly implacable,” she writes. It resists the trend.

But more than its thickness, it’s biography’s insistence on the contradictions of character that makes it feel urgent. It asks: how do people become who they are? How does motive unfurl from memory? How much of the self is performance? Sehgal traces how recent biographers have turned away from “definitive portraits” in favor of fragmented, pluralist selves. This is not biography as monument-building, but biography as excavation.

She gives the example of James Baldwin—whose newly opened archives have produced not one, but two major biographies this year, each approaching him from different angles. One focuses on Baldwin’s erotic and domestic life, another emphasizes his shifting public personas. Both refuse neatness. Neither pretends to settle him. This, Sehgal suggests, is the strength of modern life-writing: the ability to hold contradiction without flattening it into a slogan.

And while the genre has often focused on the public sphere—the “eminent lives” of politicians, generals, artists—modern biography increasingly attends to the personal and even the ordinary. Paradoxically, it does this by embracing its limits. As she quotes biographer Michael Holroyd:

“The need to do this, to keep death in its place, lies deep in human nature.”

At StoryTable, we believe the same. Our journal began with the idea that everyone—famous or not—carries a story worth hearing. Not just for history’s sake, but because understanding lives, in their full complexity, helps us understand our own.


Biography as Empathy

This is where Sehgal’s essay turns from literary reflection to something more intimate. She draws attention to the most powerful shift in biography today: its willingness to remain unfinished. In her survey of books on Sylvia Plath, Baldwin, Adrienne Rich, Fanon, Candy Darling and others, what emerges is not a unified message but a kaleidoscope of contradictions. These are not books that pretend to know their subjects completely. Instead, they model how to stay with the questions.

It’s tempting to think of biography as an old-fashioned genre, interested in dusty letters and exact dates. But what makes it vibrant—what makes it necessary—is its devotion to character. The kind of character that cannot be coded into algorithms or inferred from behavior alone. Sehgal writes that AI can scrape the surface of motive (“I hate, I want”) but not its depth—its body, its shame, its backroom whispers. “A.I. knows only to enter through the front door,” she writes. Biography, by contrast, “observes the true story happening elsewhere.”


Understanding Those Closest to Us

What Sehgal’s essay reminds us—perhaps most painfully—is how difficult it can be to truly know even the people we live with. Parents, siblings, partners. We share meals, homes, even lifetimes, yet so often we miss the chance to understand them as they wish to be understood. Not just in what they did, but why they did it. What they hoped for. What hurt them. What they were trying to carry or repair.

Sometimes they don’t explain—out of habit, pride, or fear. Sometimes we don’t ask—assuming there’s time, or thinking we already know. But the truth is, many people leave this world never having had the space to tell their story, even if just as an excuse, an apology, or a hope.

That is why preserving life stories matters. It’s not just for posterity. It’s for connection—for offering those we love the dignity of being heard, and for ourselves, the grace of understanding.


The Quiet Urgency

Toward the end of her piece, Sehgal offers an unforgettable image: Baldwin as a child, daydreaming while watching his mother receive a scrap of black velvet from a neighbor. “That is a good idea,” his mother says, and for years Baldwin believes an “idea” is something dark, soft, and starry. It’s a moment too small for history books, too private for footnotes—but it is the core of biography. Not just what happened, but how it was felt.

At StoryTable, we’re building a space to capture these very moments—the velvet scraps, the quiet exchanges, the stories told too late. We believe that a person is not a set of events, but a process of becoming. We believe in the power of remembering someone as they truly were: complex, contradictory, unfinished.

Sehgal’s essay ends with Ellmann’s reflection on what drives biography:

“to know another person who has lived as well as we know a character in fiction, and better than we know ourselves.”

That is a challenge. And it is a gift.

Our goal, through writing, reflection, and dialogue, is to meet that challenge—one life at a time.