With Great House (2010), Nicole Krauss offers a choral novel that interweaves the lives of several characters loosely connected by a huge, wooden desk that one of them relentlessly chases around the world. A possible symbol of the memory of the Second World War Jewish genocide transmitted to younger generations, the desk powerfully materializes transmission in its potentially traumatic, obsessional, and violent dimensions. This essay deals with the way first-and secondgeneration women, in the novel, develop ingenious, creative but also uncompromising responses to the inescapable duty of remembrance. While the dominating male characters freeze memory in timeless, petrified representations, these female writers expose its terrible necessity while hiding nothing of the damages memory causes to witnesses and descendants. They claim a right of inventory and use the desk as an echo-chamber reflecting both the suffering voices of children and the dark presence of defaulting fathers and failing mothers, thus allowing for a new generation to be born with a more bearable heritage.