Appendices
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- Eckstein, Lars. “A Love Supreme: Jazzthetic Strategies in Toni Morrison’s Beloved.” African American Review 40.2 (2006): 271–83.
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- Gould, Glenn. Bach: The Goldberg Variations. Columbia, 1955.
- Hayircil, Gülrenk. “The Power of Music as Cultural Memory in Bernardine Evaristo’s Blonde Roots.” British and American Studies 28 (2022): 181–92.
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- Janet, Pierre. Psychological Healing, vols. 1–2. Macmillan, 1925.
- Kingwell, Mark. Extraordinary Canadians: Glenn Gould. Penguin Random House, 2012.
- Laub, Dori. “Listening to My Mother’s Testimony.” Wounds of History. Routledge, 2016. 38–58.
- Lee, Hsiu-Chuan. “Writing History and Music in Do Not Say We Have Nothing: A Conversation with Madeleine Thien.” Canadian Literature 238 (Summer 2019): 13–28.
- Pickering, Michael. “Popular Music and the Memory Spectrum.” In The Routledge Companion to Popular Music History and Heritage. Eds. Sarah Baker, Catherine Strong, Lauren Istvandity, and Zelmarie Cantillon. Taylor and Francis, 2018. 192–200.
- Squire, Larry R. “The Legacy of Patient hm for Neuroscience.” Neuron 61. 1 (2009): 6–9.
- Thien, Madeleine. Do Not Say We Have Nothing. Vintage Canada, 2016.
- Van der Kolk, Bessel A., and Fisler, Rita. “Dissociation and the Fragmentary Nature of Traumatic Memories: Overview and Exploratory Study.” Journal of Traumatic Stress 8.4 (1995): 505–25.