In 2020, the Afro-Brazilian activist, Vilma Piedade, coined a neologism by combining two terms that loom large in the agenda in the debate among Black feminists: “dororidade”. Arising out of the combination of “sororidade”—sisterhood—and “dor”—pain—from the philosophical point of view of the intellectual, it designates the rapprochement between Black women on the grounds of the pain they all experience. The two narratives that we will analyse below are pervaded by pain, and mainly by the pain caused by the absence of affective memories between the protagonists Rísia and Vitória, their mothers, and the past they both try to recover by returning to their places of origin. Pain is the watchword for the existential and geographical journey that drives the narratives As Mulheres de Tijucopapo (1982) and Essa dama bate bué! (2017), which converge, among other places, in a past recovered from memories marked by wars faced by the foremothers of the female protagonists, but also by childhood, displacements, etc. In these narratives, the past is given in the perspective of the post-memory (Hirsch 2008; Walter 2011; Ribeiro 2020a), as a second-order memory, inherited (Carmo 2015), or adopted (Hirsch 2008), from transgenerational traumas.