This paper analyzes the reconstruction of childhood memory in Frank McCourt’s

Angela’s Ashes, focusing on narrative strategies that blend the child’s immediate

perspective with the adult’s reflective voice. Using a structuralist approach and drawing

on the theories of Wayne C. Booth, Gérard Genette, and William Edmiston, the paper

explores how McCourt’s manipulation of focalization, narrating ‘I’ and narrated ‘I’, and

shifts between immediacy and reflection creates a nuanced portrayal of memory,

identity, and the memoir genre. By examining the fluid boundaries between memory

and imagination, the study demonstrates how Angela’s Ashes challenges conventional

notions of autobiographical truth, illustrating the complex interplay between lived

experience and retrospective storytelling.