Memory and history are the big players within The Stone Carvers. The building of the Vimy Memorial is mirrored in the construction of Father Gstir's church in Shoneval, and the castle of Bavarian King Ludwig II; thus "de-centring" the dominant history of the great victory of Vimy Ridge, and exhibiting the equivalence that these stories play in generating Canadian identity.[2] This, along with the use of many character's various experiences with Vimy Ridge and World War I, Urquhart articulates the idea of memory and history being a "process" where "the meanings of past events continue to change as time progresses."[2] Critics often use the term post-memory within analysis of The Stone Carvers. This term is coined by Marianne Hirsh,[3] explained as a relationship between generations where the later generation is "transmitted" memories from the previous generation by way of stories, etcetera; however, these memories resonate deeply within the subsequent generation so that they feel like they have experienced it themselves.[3] Post-memory within The Stone Carvers is evident from the very beginning as Urquhart outlines "The nuns and the one spinster clung to the story, as if by telling the tale they became witnesses, perhaps even participants" in the creation of Shovenal.[4]
Another theme that is common within The Stone Carvers is obsession. Urquhart uses Father Gstir's obsession for his church bell, Allward's obsession with stone, Eamon's obsession to fly, to represent how over time there are similarities in the different experiences that created the "events and processes of Canadian history."[2]
