Julia Watson’s foreword to Grief Work situates Meg Jensen’s memoir within the fields of trauma studies, autotheory, and life writing. Framing grief as both a “malign force” and an ongoing negotiation, Watson underscores how Jensen draws on her scholarly expertise in trauma memoir while confronting the limits of that expertise in addressing personal pain. The foreword highlights the memoir’s polyvocal form, in which the narrating “I” engages therapists, family members, readers, and most persistently the ghostly figure of Mary, the sister whose suicide structures the text. Watson emphasises Jensen’s resistance to linear narrative and therapeutic closure, characterising the memoir as a dialogical work that interweaves grief, writing, sisterhood, and art. Attention is given to Jensen’s engagement with theorists of trauma (Caruth, Neimeyer, Henke), as well as her dialogic use of Woolf, Nabokov, Van Gogh, and Gainsborough to probe the intersections of aesthetics and suffering. The foreword positions Grief Work as both an intimate record of complicated grief and a critical contribution to debates on scriptotherapy, negotiated truth, and the ethics of narrating trauma.