53 pages 1-hour read

Memory Wall

Fiction | Short Story Collection | Adult | Published in 2010

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Story 1Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of racism, illness, death, child death, and child abuse.

Story 1 Summary: “Memory Wall”

Alma Konachek, a 74-year-old woman in Cape Town, South Africa, hears someone breaking into her home in the middle of the night. She investigates and finds that the intruder is gone but left the front door open. She jots down the words: “A man. Tall man in the yard” (2).


Later, Alma looks at the wall of her upstairs bedroom, covered in labels, diagrams, maps, and hundreds of cartridges the size of matchbooks. A machine marked “Property of Cape Town Memory Research Center” sits on the nightstand (2), connected to a helmet. A photo in the center of the wall shows a man walking in the surf. It’s her husband, Harold, she reminds herself. He’s been dead for over four years now.


Pheko has worked for the Konachecks for 15 years. He drives Alma to her appointment with Dr. Amnesty at the memory clinic. There, Alma reports that her memory is improving, only because she knows it’s what people want to hear. Nurses unscrew the ports in her skull and lock her head into place for memory extraction. 


Three years earlier, at her first visit with Dr. Amnesty, he’d explained that the procedure isn’t a cure for dementia, only a way to slow its progression. They remove memories she’s lost access to because of damaged neural pathways, and once they’re encoded on cartridges, she’s able to revisit them with the helmet, as if she’s reliving them. The first memory Alma revisits is a date with Harold when she was 24 and he took her to the fossil exhibit at the South African Museum.


Many doctors in Cape Town harvest memories for wealthy people. These memories are like drugs to nursing home residents who have little else to hold onto, but the cartridges have street value as well. 


One day, Alma’s accountant tells Pheko that Alma’s dementia has advanced too far, and he’ll be moving her to a 24-hour care home and selling her house. Pheko desperately wants to keep his job so he can provide for his son. The accountant says Pheko can stay on until the following Monday. He helps Alma to bed that night, as usual, and reads to her from a worn copy of Treasure Island. Afterward, he returns to his home in Khayelitsha, a neighborhood of shanties populated by refugees and the impoverished. He makes sure his son Temba had enough to eat that day and wore his glasses, then plays lovingly with him.


Roger Tshoni, a tall Black man with tobacco-stained teeth, breaks into Alma’s home in the middle of the night for the 12th time. He brings a memory-tapper named Luvo, a 15-year-old boy who has the necessary brain implants for viewing extracted memories. Alma always wakes up when they break in, but because of her confusion, Roger is able to keep her from calling the police. He cooks her eggs and questions her in the kitchen while Luvo looks through her memories upstairs.


Luvo doesn’t remember his life before a few months ago, nor does he know who installed ports in his skull. He suffers from chronic pain, either as a result of the poorly performed operation or the effects of viewing other people’s memories. He knows that a memory-tapper’s lifespan is only one or two years. By now, Luvo knows a great deal about Alma’s life from her memories. She hasn’t been kind to Pheko and was mad when Harold paid for Temba’s eye operation. Even at age seven, she was spoiled, entitled, and taught to adopt her mother’s racist beliefs.


On Tuesday, Pheko cleans Alma’s house in preparation for the estate agent. He thinks about how he could take valuables from the house to sell, and nobody would know or care. Nobody, that is, but him and God. Meanwhile, Luvo visits the South African Museum’s paleontology exhibit, specifically the gorgon skeleton, to get an idea of what Roger is trying to find in Alma’s memory. Harold’s obituary mentioned Alma’s claim that just before his death, Harold found a rare Permian fossil—a gorgonops longifrons—but she couldn’t remember the exact spot. Knowing it would sell for a fortune at auction, others tried to find it but failed. When Roger saw Alma at the memory clinic, however, he figured her extracted memory would reveal the fossil’s exact location. Seeing that Alma’s house is on the market, Roger and Luvo realize they’re running out of time.


An infectious illness is spreading through Khayelitsha and killing children. Information about the cause and treatment options is scarce and unreliable. On Friday morning, Pheko drops Temba off at Miss Amanda’s school before work. He keeps Alma company while potential buyers tour the house, then lets her watch her favorite memory, 4510, on repeat. He keeps it in a kitchen drawer so he can find it easily whenever she asks for it. 


Across town, Roger takes Luvo to see Chefe Carpenter, a wealthy man with an enormous fossil collection. Realizing that Roger is desperately in debt, Chefe pays very little for the fossil Roger is selling, which Luvo knows he stole from Harold’s cabinet.


That night, Luvo watches Alma’s memory of Pheko when he first came to work for her and Harold. Pheko was embarrassed that he couldn’t read, but Harold said he could learn and would do just fine. Luvo wonders what will happen to Pheko when the house sells. 


In the kitchen, Roger talks to Alma, his anger and fear apparent. Since Alma won’t understand or remember, he admits that he had the surgery performed on Luvo after finding him living as an orphan in the Company Gardens public park. Alma, suddenly seeing a demon in front of her, tells Roger that she knows who he really is. In her dreams that night, the gorgon skeleton from the museum comes to life and hunts her.


On Saturday, Alma is surprisingly lucid. She talks to Pheko about her work as a real estate agent and asks about his family. She brings him to her memory wall but seems to forget why. Outside, a storm rolls in and fog shrouds everything in white. 


Pheko goes home to find Temba is sick with the infection that’s been spreading. The line at the 24-hour clinic is longer than ever due to an antibiotic shortage, and by 2:00 a.m., they’re still far from the front. Back at Alma’s, Roger happens upon cartridge 4510 in the kitchen. Luvo watches the memory of Alma and Harold, around age 30, spending a night at the Twelve Apostles Hotel, happy and in love. Their patio leads to the beach, and Alma takes a photograph of Harold in the surf—the photo that is now in the center of Alma’s memory wall. Behind that photo, Luvo finds a cartridge with an X on it.


Alma wakes up, still more lucid than usual, and senses that Roger is in the upstairs room. She retrieves Harold’s gun and waits for Roger to descend. At 4:30 a.m., Pheko remembers that Alma has plenty of antibiotics at home and gets out of line to take Temba there.


The X-marked memory cartridge shows Alma riding with Harold through the arid Karoo region, resenting his obsession with fossils and planning to end the marriage. He goes for a quick look around near a sign for Swartbergpas but doesn’t return for hours. When he does, he tells Alma he’s found what he believes to be the biggest fossilized gorgon ever seen. Then he collapses and dies.


Roger heads downstairs with the memory cartridge he’s been so desperate to find. Luvo hears a gun go off and a body fall. He finds Roger dead at the bottom of the stairs. Luvo pockets 40 or 50 memory cartridges and the photo of Harold walking in the surf. He’s about to leave when he hears someone unlocking the front door. Pheko carries Temba into the house and finds Roger’s body. Alma is sitting calmly in the kitchen looking at a magazine. Pheko ignores both and focuses on finding medicine for Temba. Then he calls the police. Luvo escapes by jumping from the upstairs window.


Police question Pheko for six hours about Roger’s death, but eventually, they release him and even let him keep the antibiotics bottles. In the following days, Temba’s fever breaks.


Over time, Luvo’s fear that the police are looking for him fades. He sells Alma’s memory cartridges to a trader and uses the money to buy food and equipment for a fossil hunt. He reaches the Swartberg Pass by bus rides and hitchhiking and spends his first night in the desolate badlands in a sleeping bag. In the daylight, the vast open spaces, enormous cliffs, and thousands of rocks make Luvo wonder how he can possibly find the fossil. He works outward in concentric circles from his camp. At night, he dreams Alma’s memories. Eventually, he senses the collective memories of the land’s ancestral inhabitants.


On the fifth day, Luvo remembers that Harold didn’t have his walking stick when he returned to the Land Cruiser and concludes he may have left it behind as a marker. This gives him enough hope to keep looking, and on the seventh day, Luvo finds the walking stick and the 10-foot-long fossil. He breaks the skull free from the surrounding rock with a hammer and drags it to the road on his sleeping bag. 


Three Finnish women on a road trip offer him and his fossil a ride back to Cape Town. They even go with him to see Chefe Carpenter, who offers Luvo 1.4 million rand—in US dollars, about $76,600 today—for the skull and the location of the full fossil. Luvo takes what Chefe can give him in cash, 30,000 rand, and tells Chefe to send the rest to Pheko.


Luvo’s first purchase is a paperback copy of Treasure Island and his next is a stay at the Twelve Apostles Hotel, in the same room where Alma and Harold stayed in Alma’s favorite memory. Chefe excavates the rest of the gorgon skeleton, which a black-market auction house in London sells for $4.5 million—about 82.2 million rand—to a high-rise hotel in Shanghai. 


Pheko gets a check in the mail for nearly 1.4 million rand. After depositing the check into a new bank account, he takes Temba to swim at Virgin Active Fitness’s three lavish pools with the giant waterslide. Alma is in the 24-hour care home and barely recognizes herself. She knows nothing about the cartridge marked 4510 in her nightstand, which Pheko brought for her. She senses that she had somebody once, but he left her alone. Coaxed by staff to participate in the group craft activity, Alma pushes her palm into the plaster.

Story 1 Analysis

Setting is central to this narrative’s development of conflicts and themes, as the story’s depiction of race, class, culture, crime, and poverty in post-apartheid South Africa helps position universal questions about the human condition within a specific context. The interplay between conflicts that are specific to place and time—like race and class-based inequalities that linger in the wake of the apartheid era—and more timeless conflicts—like the relationship between memory and identity—makes the story more compelling and vibrant.


One of the main ways the setting serves the story is through the contrast between Alma’s environment and Pheko’s. Descriptions of Vredehoek and Khayelitsha create a dichotomy that emphasizes the effects of cultural forces on individual lives. Vredehoek is a place of “warm rains” and “big-windowed lofts” (1), while Khayelitsha is “shanties made of aluminum and cinder blocks and sackcloth and car doors” (15). As a wealthy white woman, Alma enjoys a privileged life in an upper-class suburb. Pheko lives in poverty, despite the great work ethic, intelligence, and integrity the story’s subtext attributes to him. The implication is that apartheid, though formally over, created entrenched and abiding inequalities. The story’s thematic look at Memory’s Role in Identity, Loss, and Preservation, however, takes a longer perspective of history and suggests that even such deep-rooted social problems will eventually erode.


The central conflict in “Memory Wall” is between individuals and time, and more specifically, between individuals and the inevitability of death, which the passage of time brings ever nearer. Roger uses the imagery of a literal battle to represent this conflict, telling Alma: “You probably think you’re a hero […] Up there waving your sword against a big old army. […] But you losing. […] you going to blitz out, zone out, drift away, feed yourself a steady stream of those memories. Until there’s nothing left of you at all (37). Alma’s effort to fend off the loss of her memories is one manifestation of her conflict with time and the erasure inherent in its passage. Other examples of this allusion in the text include Harold’s fossil hunting, the South African Museum, and Dr. Amnesty’s cartridges. A sub-conflict within Alma and Harold’s relationship—seen through memories—illustrates these same ideas about time and loss. In memory 4510, they’re in love and happy. This presents an interesting contrast to their relationship in later years when Alma is full of judgment and resentment. Their marriage, like Alma’s brain, demonstrates the decaying effects of time.


Luvo’s relationships with Alma and Harold shape the story’s themes in important ways. As he experiences Alma’s memories, he takes on parts of her identity. For example, he buys a copy of Treasure Island because it’s Alma’s favorite book. It’s fitting that Luvo adopts pieces of Alma’s life and identity, since his memories—and therefore his sense of identity—were stolen from him. Luvo also assimilates some of Harold’s character traits, like his fascination with fossils and the sense of peace he gets searching in the Karoo. There, Luvo has dreams that feel “as if they emerge not from his own forgotten childhood but from lives that have been passed to him through his blood” (68). With this reference, Doerr alludes to the concept of the collective unconscious, which describes a theoretical part of the unconscious mind shared by all humans and inherited from ancestral experiences and memories, and develops the collection’s theme of The Intersection of Personal and Collective History as Luvo connects to the past through dreams and the memories of others.


Roger’s character embodies one possible outcome of the cultural conflicts that contextualize the story, while Pheko provides a very different example, belying an interpretation that discounts personal choice or that attempts to justify Roger’s actions. Roger is an antagonist who is characterized, metaphorically, as a demon. Setting and subtext imply that entrenched inequality has greatly limited his opportunities, putting him in a position of desperation that led to his criminal lifestyle. However, his treatment of Luvo is presented as a speculative parallel to modern-day child trafficking, delving into the potential ethical considerations of memory manipulation. Alma’s comments about Dr. Amnesty’s name—“Amnesty is for wrongdoings. For someone who has done something wrong” (5)—also develops this theme, suggesting that, despite good intentions for the procedure to treat dementia, there are significant ethical problems that have not been addressed. This becomes more apparent as other doctors and clinics offer the procedure, which the narrator describes as harvesting memories, and as they acquire value on the streets and are used by nursing home residents like drugs.


Metaphors and symbolism also feature heavily in this story. Alma thinks of things like tooth decay and “a river eroding its banks” as metaphors for the loss of memory and identity that her dementia will cause. Weather frequently represents this loss as well: Fog from the storm shrouds Alma’s surroundings in white, hampering visibility and metaphorically severing her connection to reality, and a breeze fans out the memory labels on Alma’s wall “like a mind turned inside out” (55). The image of Alma’s stare, “lost and unknowable and reptilian” (57), equates memory loss to a form of devolution, a return to the less intelligent animals from which humans evolved and a reversal of the evolutionary process that so fascinates Harold.


Alma’s memory wall symbolizes her identity and all the versions of her—each memory is a moment in time that builds her identity. The wall’s shift in organization, from Alma’s early order and method to the subsequent chaos that reminds Luvo of a “museum arranged by a madwoman” (34), is a physical manifestation of the erosion of self that Alma experiences in her dementia. Luvo draws symbolic connections between Alma’s memory cartridges and the fossils in the museum’s paleontology exhibit, noting that both are an attempt at preservation. Finding fossils and extracting memories are acts that aim to symbolically defy death and oblivion. The X on Alma’s memory cartridge ties into her love of Treasure Island—it’s the X that marks the location of treasure on a map, a metaphor suggesting the immense value of memories. At the end of the story, when Alma creates a mold of her palm in plaster, she’s creating her own fossil, symbolically leaving a part of herself behind so the memory of her can endure after her death.

blurred text
blurred text
blurred text

Unlock all 53 pages of this Study Guide

Get in-depth, chapter-by-chapter summaries and analysis from our literary experts.

  • Grasp challenging concepts with clear, comprehensive explanations
  • Revisit key plot points and ideas without rereading the book
  • Share impressive insights in classes and book clubs